Episodes

2d ago

Audio Director Chris Fox and Composer Olivier Derivière sit down with guest host Alistair Hirst to explore the immersive sound of “South of Midnight,” the groundbreaking action-adventure game from Compulsion Games. Set in the American Deep South, the score skillfully weaves together traditional Southern-style music and folk songs with a dark, otherworldly essence as the player faces the eerie creatures of Southern legend. In this conversation, Fox and Derivière break down how sound design, music, and a fully realized Dolby Atmos® mix work together to pull players deep into the game’s mythic world. “It really comes back to the idea that the entities — the magic entities — we wanted to make them a character. So the kids, the kid choir that Olivier put together and recorded down in Nashville, are the stars of the show, because they really are everywhere. A lot of what you hear — there are two different samples, actually. One is the agitated samples when you get close to an object or station, and the other is the vowels we were talking about… When you do your magic, they’re in tune with the backing, the non-diegetic music that’s playing at the time… We also played with that in combat. When things get agitated all around you, that’s not just in the front — it’s surrounding you. So there’s a lot of use of space to complement the score.” —Chris Fox, Audio Director, “South of Midnight” Be sure to check out "South of Midnight," available now in Dolby Atmos, on supported systems. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

4d ago

What does it mean to create art during times of global conflict? Guest moderator Abiram “Abi” Brizuela leads a thoughtful and timely conversation on how filmmakers respond to war, displacement, and uncertainty through their work. Spanning both narrative and documentary filmmaking, the discussion explores the emotional challenges of telling these stories and the enduring role of cinema in helping audiences reflect, connect, and understand complex human experiences. Joining the discussion: - Cherien Dabis – Writer/Director (“All That’s Left of You”) - Ramona S. Diaz – Director (“And So It Begins”) - Gregory Nava – Writer/Director (“El Norte”) - Bao Nguyen – Director (“The Greatest Night in Pop”) This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment. Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 11

Legendary filmmaker Darren Aronofsky and cinematographer Matthew Libatique, ASC, LPS, join us to reflect on their three decades of creative partnership: from “Pi,” “Requiem for a Dream,” “Black Swan,” and “The Whale,” to their newest collaboration, “Caught Stealing.” In this wide-ranging conversation, they discuss the evolution of their visual language, how technology continues to reshape the craft, and the inspirations behind the kinetic, East-Village-in-the-’90s aesthetic of “Caught Stealing.” And as the industry stands on the brink of profound transformation, Aronofsky shares why he believes the future is full of opportunities for new kinds of innovative storytelling. “I think how we make films is about to change more than any other time in history. And there’s many ways that can go, many possibilities. So I think for storytellers, it’s really exciting because there’s a lot of discovery ahead of us. There’s the potential for lots of very specific, individual types of films. But I think there’s an absolute need for storytellers to be inventive and to be looking forward.” —Darren Aronofsky, Director and Producer, “Caught Stealing” Be sure to check out “Caught Stealing,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about Sundance Collab here. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 9

Academy Award®-winning composer Volker Bertelmann joins guest host Jon Burlingame to explore his gripping and sonically inventive score for “A House of Dynamite.” Their conversation delves into his use of unconventional textures, low-frequency resonance, and layered instrumental techniques to create a sense of mounting dread throughout the film. And as Bertelmann explains, embracing irregular and unexpected sounds became central to building the score’s tension and character. “I learned that when I was working a lot with prepared piano sounds, there were a lot of random sounds that just somehow did what they want. The material was just jumping somewhere and was landing somewhere and just created a noise. Which you normally would say, ‘oh sorry, that is a mistake.’ But when you leave that in there, suddenly this mistake becomes a part of the texture that is a part of the music. I recognize that this is very helpful with tension. Because once you drop something that is irregular, somehow the brain wants to have an answer to that. And also you get thrown out of your normal listening habits. And then suddenly, you are back into the film and you just say, ‘oh, what was that?’” —Volker Bertelmann, Composer, “A House of Dynamite” Be sure to check out “A House of Dynamite,” now streaming on Netflix in Dolby Vision® and Dolby Atmos®. And check out our other episode with Director Kathryn Bigelow and the creative team behind “A House of Dynamite” on YouTube! Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 4

Legendary filmmaker Guillermo del Toro and cinematographer Dan Laustsen, ASC, DFF, join us to break down the striking visual language of “Frankenstein,” their latest feature collaboration after decades of working together. In this conversation, they explore everything from their use of large-format cameras and “painterly” light to the symbolic color design that shapes the emotional arc of the film. Theirs is a visual process that begins with ideas, not rigid storyboards, so the filmmaking can stay alive and collaborative. “Obviously, we storyboard. But storyboards should only be useful in to breaking down the elements. I never say, ‘it has to be this shot, it has to be this element… medium shot, blah, blah, blah.’ Storyboards are taxidermy. And I want it to be alive. I want the animal to be alive… From that on, it's a collaboration. If I can put the fundamental touchstones of the film in place, then everybody can play. Then we can be flexible.” —Guillermo del Toro, Director, Writer, and Producer, “Frankenstein” Be sure to check out “Frankenstein,” now streaming on Netflix — in Dolby Vision® and Dolby Atmos® — and in select theaters. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 2

Composer Max Richter joins guest host Jon Burlingame to discuss his luminous, emotionally rich score for “Hamnet,” the new film from director Chloé Zhao. In their conversation, Richter shares how early musical sketches shaped the production, how he blended period instruments with processed textures, and how the film’s psychological and natural landscapes guided his approach. And as Richter explains, Elizabethan-era music became a key creative touchstone for capturing the film’s folkloric sensibility. “Elizabethan music is one of my great passions, really. It’s an amazing moment in English music history where you have this community of composers writing just extraordinary things, both instrumental and chorally. It was a wonderful opportunity for me to go back and connect to that material… Which evoked what [director] Chloé [Zhao] called the witchy sensibility of the sort of folkloristic… maybe dark fairytale quality of the relationship with nature and the connection between human beings and nature.” —Max Richter, Composer, “Hamnet” Be sure to check out “Hamnet,” now playing in theaters in Dolby Vision® and Dolby Atmos®, where available. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 26

The all-star sound team behind “Wicked: For Good” returns to the show to discuss the bold sonic world of the film, and how it compared to the first. In this conversation, they break down everything from capturing on-set vocals to crafting the visceral aerial sequences — all while following Jon M. Chu’s vision for a darker, more mature final chapter of the “Wicked” story. “In the first film — ‘world building,’ ‘set pieces,’ ‘youthful exuberance’ — those were all our keywords. And what we were leaning towards with the sound and music. On movie two, we’d already laid that foundation. So ‘emotion’ really became our superpower on this one. The characters’ emotion always guides the sonic world of each scene. And when you know you’re leading towards the song ‘For Good,’ which is as deeply emotional and compelling and heartbreaking as any song can get — and it represents the culmination of their relationship — you just have to follow the characters and follow what Jon Chu’s vision is for each of these scenes leading up to it.” —Jack Dolman, Supervising Music Editor, “Wicked” and “Wicked: For Good” Joining today’s conversation: - John Marquis, Supervising Sound Editor / Sound Designer / Re-Recording Mixer - Andy Nelson, Re-Recording Mixer - Jack Dolman, Supervising Music Editor - Nancy Nugent Title, Supervising Sound Editor - Simon Hayes, Production Sound Mixer Be sure to check out “Wicked: For Good,” now playing in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®. - Our previous episodes of Dolby Creator Lab with the artists behind Wicked: The Cinematography of Wicked: For Good, with Alice Brooks and Jon M. Chu Capturing Wicked's Live Singing, with Simon Hayes The Music of Wicked, with Stephen Oremus, John Powell, and Stephen Schwartz Director Jon M. Chu and the Sound and Editing Wizards of Wicked Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 24

Director Jon M. Chu and Director of Photography Alice Brooks join us to discuss the dazzling cinematography of “Wicked” and its newly released sequel, “Wicked: For Good.” Though the two films together tell a single story — adapted from the beloved Broadway musical — each was crafted with a distinct visual style to reflect the evolving tone and emotion of its chapter in the tale of the Wicked Witch of the West. “When Jon and I first started talking about the movies, we talked about emotional intentions. And some of those emotional intentions for the first movie were ‘dreams’ and ‘yearning’ and ‘friendship’ and ‘choice.’ And the second movie, they were ‘separation’ and ‘sacrifice’ and ‘surrender’ and ‘consequence.’ And so quickly in our conversations it became clear that the first movie would glow in daylight, and the second movie would be steeped in density and maturity and shadow. And so we have these two worlds. We've got the whole visual arc of both movies, but each lived in their own distinct worlds.” —Alice Brooks, Director of Photography, “Wicked” and “Wicked: For Good” Be sure to check out “Wicked: For Good,” now playing in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®. - Our previous episodes of Dolby Creator Lab with the artists behind Wicked: Director Jon M. Chu and the Sound and Editing Wizards of Wicked The Music of Wicked, with Stephen Oremus, John Powell, and Stephen Schwartz Capturing Wicked's Live Singing, with Simon Hayes Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 18

Two-time Academy Award®-winning composer Ludwig Göransson and Executive Music Producer Serena Göransson join us to discuss the powerful use of music in Ryan Coogler’s “Sinners,” recently nominated for six 2026 GRAMMY® Awards. In this conversation with music journalist Jon Burlingame, the Göranssons share how integral music was to the film’s storytelling — and how their close collaboration with Coogler shaped the creative process from start to finish. “Serena and I were there, on the dub stage, almost every day… [Director] Ryan [Coogler] is an incredible collaborator. He wants to hear ideas… take it in, and make difficult decisions. He really wanted this to be such an immersive experience... That's why he really spent time on the mix, like panning things around, making it create an experience… Sometimes I had to pinch myself and think to myself, Ryan and I, we've been doing this since USC, and our first studio film. We were young and we had a great experience. But at the same time, when you get started, people always think, oh, these guys don’t know what they're doing. And there's a lot of things that you have to prove. And now we're at this stage in our professional careers where we are experienced and also have more responsibilities and can really create in a different way… and try to push the envelope as much as we can.” —Ludwig Göransson, Composer, “Sinners” Be sure to check out “Sinners,” now streaming on HBO Max, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 13

Two-time Academy Award®-winning composer Alexandre Desplat joins guest host Jon Burlingame to discuss his latest score for “Frankenstein,” directed by Guillermo del Toro. This long-awaited project — their third collaboration — had been a topic of conversation between the two for years, and Desplat was eager to finally help del Toro bring it to life. “Knowing his passion for this character, and his sensitivity, I knew it would be epic, romantic, lyrical, emotional, and that it would be beautiful, visually… There’s this epic, fearless, operatic way of telling a story that Guillermo del Toro can handle so well. His talent as a director is so strong, his craft is so great, and his knowledge about art is so wide. I knew that it would be beautiful and strong.” —Alexandre Desplat, Composer, “Frankenstein” Be sure to check out “Frankenstein,” now streaming on Netflix — in Dolby Vision® and Dolby Atmos® — and in select theaters. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 11

Should “Materialists” be considered a rom-com? What even counts as a rom-com these days? Academy Award®-nominated writer, director, and producer Celine Song joins us to discuss the state of the modern romantic comedy, as part of Dolby Creator Lab’s ongoing partnership with Sundance Collab. Joining the conversation are supervising sound editor & re-recording mixer Daniel Timmons, re-recording mixer Josh Berger, and composer Daniel Pemberton to discuss how they utilized sound and music to flesh out the world of “Materialists,” to turn the modestly budgeted film from A24 into an unexpected smash hit at the box office. “Stories about love and movies about love are often thought of as lighter fare, or not ‘serious cinema.’ My question in response to that is always, ‘why would matters of the heart — a universal theme and a great mystery, like love — be something that isn’t worthy of great cinema?’” —Celine Song, Writer, Director, and Producer, “Materialists” Be sure to check out “Materialists,” now streaming on HBO Max in Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about Sundance Collab here. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 6

Academy Award®-nominated composer Jerskin Fendrix joins guest host Jon Burlingame to discuss his latest score for “Bugonia,” directed by Yorgos Lanthimos. Fendrix shares how he developed the film’s striking — and at times paranoid — musical themes, shaped in part by his own emotional state during the writing and recording process. Lanthimos had deliberately kept him in the dark, forbidding him from reading the script before composing, a choice that profoundly influenced the tone of the score. “I spent a lot of time by myself, doing all this kind of esoteric, bizarre research on bees and spaceships and so on. I knew that a lot of meetings were happening; I knew that the film was being made — the pre-production — none of which I was allowed to be privy to. I was starting to get a bit paranoid; I was starting to get a bit angsty about things. And all I was doing was really hoping what I was doing was right. And I think the reason that a lot of the music actually echoes the psychology — especially of Teddy, this kind of really frantic grandiosity, but paranoia, and so on — is because I was basically in the same position for at least a year, by virtue of Yorgos’s direction.” —Jerskin Fendrix, Composer, “Bugonia” You can watch our episode with Director Yorgos Lanthimos & Sound Designer Johnnie Burn on the Sound of “Bugonia” here. Watch our previous episode with Jerskin Fendrix on the music of “Poor Things” here. And be sure to check out “Bugonia,” now playing in theaters in Dolby Atmos®, where available. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 4

Five-time Academy Award®-nominated filmmaker Yorgos Lanthimos joins us to discuss his latest surreal adventure, “Bugonia.” The film is a darkly-comic paranoid thriller about a high-profile CEO who is kidnapped by conspiracy theorists, who are convinced she is an alien. Once again, Lanthimos tapped Academy Award-winning Sound Designer, Supervising Sound Editor, and Re-recording Mixer Johnnie Burn to create the sonic landscape for his film. But despite its out-of-this-world themes, it was important to the director that the sound keep the story grounded in reality. “It was trying and finding a way to simplify the soundscape, without making it boring. Because there’s so much dialogue in the film, and there’s moments of quite bombastic music, we needed to find a way to bridge those things, support the dialogue, and create an atmosphere that had a signature and made the film feel unique and different, but without stepping [on] all the other things that needed to work.” —Yorgos Lanthimos, Director and Producer, “Bugonia” Be sure to check out “Bugonia,” now playing in theaters in Dolby Atmos®, where available. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 28

We are thrilled to welcome two-time Academy Award®-winning filmmaker Kathryn Bigelow and her creative team to discuss her newest political thriller, “A House of Dynamite,” brought to us by Netflix. This conversation was recorded as a live panel discussion at this year’s New York Film Festival. This was part of our support of the Artist Academy program, where we bring conversations about the art and craft of filmmaking to the next generation of directors. Joining this conversation: - Barry Ackroyd - Director of Photography - Kirk Baxter - Editor - Volker Bertelmann - Composer - Jeremy Hindle - Production Designer - Paul N.J. Ottosson - Re-recording Mixer, Sound Designer, and Supervising Sound Editor “It was really an embarrassment of riches. What [sound designer] Paul [N.J. Ottosson] does is he three-dimensionalizes any space, and it's just extraordinary. You think you know what the space is and then he'll bring a sound in and suddenly it's amplified tenfold. Then, in the quiet spaces, I thought it might be interesting to bring some score in. And then I sort of stumbled on the incredible soundtrack to ‘All Quiet on the Western Front’ and I just… my head exploded. So I reached out to [composer] Volcker [Bertelmann] and gratefully he had a short opening in his schedule. He came over, he looked at the movie even in its sort of raw stage. And I just think the synergy between Paul and Volcker and the sound design and the music, there's so much that they have in common. They are in conversation with one another. It was just a fluid, seamless, synergistic process.” —Kathryn Bigelow, Director and Producer, “A House of Dynamite” Be sure to check out “A House of Dynamite,” now streaming on Netflix in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 21

Writer/Director Mary Bronstein and Supervising Sound Editor, Sound Designer, and Re-recording Mixer Filipe Messeder join us to discuss “If I Had Legs I’d Kick You” — the searing and darkly funny new indie film from A24 about the dark side of motherhood. Featuring a tour-de-force performance by Rose Byrne, the film made quite a splash when it premiered at this year’s Sundance Film Festival. Despite its relatively small budget, quite a lot of work went into the sound design of the film, with a sometimes unconventional, yet wildly effective approach to sound as a storytelling tool. “By using sound design, it's not so much what a score does… it's world building. It's building the world that she lives in and some of it is in her head… When you see it in a theater, some of those cues are making your chest bones rumble. In a quite literal way, it's happening to you. And in the same way that it's happening to her… So it's taking her inner world and it's externalizing it for the viewer.” —Mary Bronstein, Writer/Director, “If I Had Legs I’d Kick You” Be sure to check out “If I Had Legs I’d Kick You,” now playing in select theaters (and nationwide this Friday) in Dolby Atmos® where available. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Sep 23

How do you make a short film sound big on a small budget? Recorded live at Aspen Shortsfest 2025, Glenn sits down with filmmakers Lindon Feng & Hannah Palumbo (“A Bear Remembers”), Louis Bhose (“The Cost of Hugging”), and Elham Ehsas (“There Will Come Soft Rains”) to explore the art of creative sound design for short films. From crafting immersive soundscapes to collaborating with sound designers and mixers under tight deadlines, this panel reveals how powerful sound choices can transform a story — even with limited resources. Whether you’re a filmmaker, sound designer, film student, or just love behind-the-scenes insights on filmmaking, this conversation is full of practical tips and creative inspiration for making your short film sound unforgettable. Many thanks to Community College of Aurora (CCA), Department of Cinematic Arts, who filmed and recorded this panel discussion for us: - Sourthearak Duong - Camera Operator - KC Bowlan - Gaffer - Sofia Race - Camera Operator - Makayla Levy - Production Audio Mixer - Matt Baxter - Editor And thank you to the folks at Aspen Film: - Aaron Koehler - Director - Morgan Witt - Production Coordinator Thanks as well to Colorado Mountain College for their production support: - Bruna Batista Rosa - Andy Garay - Madi Rochon - Theo Corwin Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 14

Emmy Award®-nominated Director Philip Barantini and fellow nominees — including cinematographer Matthew Lewis and the sound team of James Drake, Jules Woods, Rob Entwistle, and Kiff McManus — join us this week to discuss the making of “Adolescence,” Netflix’s hit limited series. Nominated for thirteen Primetime Emmy Awards, including Outstanding Limited or Anthology Series, the show’s four episodes were each filmed as single, continuous takes, creating a gripping real-time experience for viewers — and offering some unexpected advantages for the filmmakers. “For Netflix, it was very different for them because… they're very limited in what notes you can give. You can't say, ‘I think that scene needs to move to a different location’ or whatever. It's literally got to be performance notes… And so, they were fantastic. Netflix were just amazing, really, really amazing partners.” —Philip Barantini, Director, Executive Producer, “Adolescence” Joining today’s conversation: - Philip Barantini, Director, Executive Producer - Matthew Lewis, Director of Photography, Camera Operator - James Drake, Supervising Sound Editor, Re-Recording Mixer - Jules Woods, AMPS, CAS, Re-Recording Mixer - Rob Entwistle, AMPS, Production Sound Mixer - Kiff McManus, AMPS, Production Sound Mixer Be sure to check out “Adolescence,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 5

Academy Award®-winning composer Michael Giacchino returns to Dolby Creator Talks to discuss his bold and emotional score for “The Fantastic Four: First Steps.” In this in-depth conversation with guest host Jon Burlingame, Giacchino shares how he approached scoring one of Marvel’s most iconic franchises, including how he balanced moments of sweeping sincerity with all that pulpy fun. “All I could think of in my head was like, if I took ‘The Right Stuff’ and if I took the Disneyland Electric Light Parade and smashed them together… that's gonna give us our ‘Fantastic Four’ music. And so I went right to town, over a year ago, on this theme. Which is something you never, ever get to do as a composer. It's so rare that you get to write a piece of music so early on.” —Michael Giacchino, Composer, “The Fantastic Four: First Steps” Be sure to check out “Fantastic Four: First Steps,” now playing in theaters and Dolby Cinemas® in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Check out Michael Giacchino’s previous appearances on the Dolby podcast: - War for the Planet of the Apes - https://youtu.be/IMoypCm9pEc - The Sound and Music of The Batman - https://youtu.be/uZ_3Kdm_ZhE - The Making of Marvel’s Werewolf by Night - https://youtu.be/vVALDtPJyss Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 15

Composers John Murphy and David Fleming join guest host Jon Burlingame to discuss their original score for “Superman,” directed by James Gunn. In this two-part conversation, Murphy and Fleming share their personal connections to the character, the emotional and thematic goals of the music, and the creative process of scoring an iconic superhero story for a new generation. They also reflect on the legacy of John Williams’s original theme and how it influenced their approach. “Everyone who works in film music reveres John Williams, and that score is kind of a gem of film music. So to be asked to explore the DNA of that theme was a privilege, but definitely a humbling privilege. You are confronted with this truly iconic theme… But at the same time, there still felt like there was a lot to explore within the confines of that theme… I remember, I was having a meeting with James [Gunn] and I said, the part of the John Williams theme that always really touched me is the end… There's something about it that's hopeful. Really, really hopeful. And I started playing around with it with some different chords, and I could tell James was getting sort of moved by it. It felt like we were discovering something and finding something new that fit his Clark Kent and his Superman, as well.” —David Fleming, Composer, “Superman” Be sure to check out “Superman,” now playing in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 8

Director Gareth Edwards returns to Dolby Creator Talks to discuss “Jurassic World: Rebirth,” the latest installment in the iconic dinosaur franchise. He and his sound team share how they crafted the film’s breathtaking sonic landscape — along with the challenges of an accelerated production schedule, and why that constraint ultimately proved creatively liberating. “Normally, on a movie like this, from the day you first get contacted… to the day you go, ‘OK, we’re finished,’ it’s about two-and-a-half years. And this was a year-and-a-quarter! Jabez [Olssen], who’s our editor, he put a quote on the door of the edit suite… It was [from] Leonard Bernstein, and it said something like, ‘Art is when you have a plan but not quite enough time.’ And there was something about that idea of when there isn’t time to mess around — you can’t experiment like crazy, you gotta go with your first gut instinct — something interesting happens. And I’m half-tempted now, in all future contracts to make another film, to ask, ‘Whatever schedule you’re considering, can you just halve it?’” —Gareth Edwards, Director, “Jurassic World: Rebirth” Joining today’s conversation: - Gareth Edwards - Director - Tim Nielsen - Sound Designer and Supervising Sound Editor - Bjørn Ole Schroeder - Supervising Sound Editor - Pete Horner - Re-recording Mixer Be sure to check out “Jurassic World: Rebirth,” now playing in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 1

When director Joe Kosinski and producer Jerry Bruckheimer set out to make “F1,” their goal was to create the most authentic Formula One film ever made. Recorded in person at Skywalker Sound, this episode features the sound team behind the film, who share how they brought that vision to life. They discuss the extraordinary lengths they went to in order to craft a visceral, true-to-life experience for racing fans and everyday viewers alike — while also highlighting the invaluable support they received from the production and the film’s director, Joe Kosinski. “I would say Joe is the grand master at giving us these opportunities [to succeed]. God bless him, because he gets it. He knows you can’t just say, ‘I want this to be an authentic Formula One movie — figure it out.’ He was like, ‘We’re going to start early. We’re going to give you whatever resources you need. And everything is going to be 100% perfect.’ And he’s not like, ‘This has to be perfect.’ It’s just, ‘We’re going to do this together. What do you need? I’m going to help you. Let’s get going.’” —Al Nelson, Supervising Sound Editor, “F1” Joining today’s conversation: - Al Nelson – Supervising sound editor/sound designer - Juan Peralta – Re-recording mixer - Gary Rizzo – Re-recording mixer - Gwendolyn Yates Whittle – Supervising sound editor Be sure to check out “F1,” now in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 26

Composer Rob Simonsen joins guest host Jon Burlingame to discuss his sweeping and emotionally rich score for Pixar’s “Elio.” The composer shares how he approached scoring the story of a young boy making first contact with aliens, weaving together emotional warmth, cosmic wonder, and a sense of fun. He also discusses how Dolby Atmos® helped shape the immersive quality of the soundtrack, after being a bit of a skeptic of the technology at first. “Scott Michael Smith, who recorded and mixed the score, said early on that we were going to record in Atmos, and that's really the way to do it… I have to admit, I was a little like, ‘eh, do we need to do Atmos? I don't know.’ And then Scott played me some Atmos files… and again, I am not being paid to say this. I was literally blown away… It gave me chills. I mean, I'm not sure what witchcraft is going on to make it as kind of amazing as it is, but I was really sold.” —Rob Simonsen, Composer, “Elio” Be sure to check out “Elio,” now in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 17

Mix engineer Alex Gamble joins guest host Ben Givarz to discuss the creative and technical process behind mixing FKA twigs' new album Eusexua in Dolby Atmos®. He shares how his immersive mixes in Dolby Atmos enhance the record’s intimacy, rhythm, and vocal playfulness — pushing boundaries while staying true to FKA twigs’s artistic vision. “At that [early] stage, where I’m assessing the stems versus the master, I’m not trying to go overboard to do an exact match — because things are going to change once I start panning things around. Timbre and transients, and things like that — they change depending on where you choose to pan things in an Atmos environment. Things came in sounding so great. The productions were great: very intimate, very cerebral. Really big scene changes in a lot of these songs… and a lot of glitchy, cool elements too. That’s one of the things I latched onto during my first listen… thinking, this is stuff that’ll really be interesting to pull into three dimensions and see if I can build upon the production.” —Alex Gamble, Dolby Atmos Mix Engineer, Eusexua by FKA twigs Stay connected! - You can listen to FKA twigs - Eusexua as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services. - Follow FKA twigs on Instagram and YouTube - Learn more about Alex Gamble and his studio Interested in creating content in Dolby Atmos? Check out our FREE resources to give you a jump start! - Dolby Atmos Music Accelerator: https://www.dolby.com/creator-lab/music-accelerator/ - Dolby Atmos Essentials Course: https://learning.dolby.com/ - Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 11

NOTE: This interview contains spoilers from both Black Mirror: “USS Callister” episodes. Join us as we boldly go behind the scenes of Black Mirror: “USS Callister: Into Infinity,” with the creative team behind the episode. In this panel, the director, composer, supervising sound editor, and VFX supervisor share how they brought the nightmarish galaxy of Robert Daly back to life with bold visuals, cinematic music, and immersive sound, as well as the reasons why this became the very first Black Mirror sequel ever. “It's really tricky when you come back and do a sequel of something. None of us wanted to work on something that was going to be any lesser than the original. And the original is… speaking for myself… the closest thing to a perfect episode. It has such a great beginning, middle and end. And it has such a great conclusion, it feels so wrapped up. Yet it's still a great launching point into a whole new recognizable world. But it's its own IP. And so I always knew that it had the potential to be a series or a sequel. I knew that I wanted to explore these characters in that world even further.” —Toby Haynes, Director, Black Mirror: “USS Callister: Into Infinity” Joining today’s conversation: - Toby Haynes - Director - Tom Jenkins - Supervising Sound Editor - James MacLachlan - VFX Supervisor - Daniel Pemberton - Composer Be sure to check out Black Mirror: “USS Callister: Into Infinity,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 9

Recorded live at Netflix HQ in Hollywood, this special FYSEE panel brings together the visionary sound teams behind four standout Netflix titles. This conversation explores how these sound artists crafted the unique sonic identities of each project and reveal how they worked with their directors, showrunners, and creators to craft the perfect balance of emotion, tension, and, of course, storytelling. Panelists include: - James Drake — Supervising Sound Editor, “Adolescence” - Wylie Stateman — Sound Designer, “American Primeval” - Anne Jimkes-Root — Co-Supervising Sound Editor and Music Editor, “American Primeval” - Brad North — Supervising Sound Editor, “Love, Death + Robots,” Volume 4 - Drew Webster — Re-recording Mixer, “Rebel Ridge” Be sure to check out each of these titles now streaming on Netflix, in Dolby Vision® and Dolby Atmos® — Adolescence American Primeval Love, Death + Robots, Volume 4 Rebel Ridge Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 6

Director of Photography Adam Newport-Berra joins us to discuss his incredible work on “The Studio,” the hilarious behind-the-scenes satire now streaming on Apple TV+. The cinematographer shares how he helped co-creators Seth Rogen and Evan Goldberg pull off the show’s bold cinematic concept: shooting nearly every scene as a continuous long take. Join us as we go behind the camera on episode two, “The Oner,” a technical and comedic marvel executed as one uninterrupted 25-minute shot. Newport-Berra details the challenges of capturing ensemble performances, navigating comedic timing, and using cinematography to enhance the absurdity of Hollywood. “I think one thing I really learned on this show is to just never say no... Seth and Evan really supported me and believed in me... and it created an environment where it was almost impossible to say no, because we were so creative that we were always able to come up with a solution.” —Adam Newport-Berra, Director of Photography, “The Studio” Be sure to check out “The Studio,” now streaming on AppleTV+, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 3

This week we return to the stunning visual world of “Severance,” the critically acclaimed Apple TV+ series from creator Dan Erickson and director Ben Stiller. Cinematographer and fellow director Jessica Lee Gagné joins us to discuss her work on the show’s second season, including how she crafted the eerie, sterile look of Lumon Industries and expanded the visual palette in new, unexpected ways. Jessica discusses her collaborative relationship with the creative team, the emotional and psychological subtext behind the framing, and how film was used to deepen the surreal, dreamlike atmosphere of the important flashbacks in episode 7, which she directed. “Life never looks more real and emotional than it does on film. Like it just has that texture... and I’m like, well, I feel that that makes so much sense with this world.” —Jessica Lee Gagné, Director of Photographer and Director, “Severance” Be sure to check out “Severance,” now streaming on AppleTV+, in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 27

NOTE: This episode contains SPOILERS from the second season and season finale of Severance. Today we let Kier guide us into the extraordinary sound work of season two of "Severance," the hit Apple TV+ series from creator Dan Erickson and director Ben Stiller. Focusing on the groundbreaking storytelling of episodes 207 and 210, Supervising Sound Editor, Sound Designer, and Re-recording Mixer Jacob Ribicoff, Re-recording Mixer Bob Chefalas, and David Schwartz (the Production Sound Mixer on those two episodes), break down how they crafted the show’s eerie, minimalist sonic landscape. They explore everything from the show’s surreal dreamlike ambiences and rhythmic sound/music interplay, to that unforgettable marching band sequence in the season finale. “One of the primary objectives, according to Ben [Stiller], was that Lumon should be a quiet place, a place with the air sucked out of it… I thought, wouldn't that be really interesting to create room tones out of breathing, out of breath, and actually just fold those in and mix those in with normal room tones? So there's kind of some animal breath and some human breath in there — like, very long… just a breath that just goes on for an entire scene.” —Jacob Ribicoff, Supervising Sound Editor, Sound Designer, and Re-recording Mixer, “Severance” Be sure to check out “Severance,” now streaming on AppleTV+, in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 20

Legendary sound mixer JC Aguila joins us at Telemundo’s state-of-the-art headquarters in Miami. With nearly 30 years at the network, JC has played a key role in Telemundo’s rise as one of the leading Spanish-language broadcasters in the United States. In this wide-ranging discussion, he reflects on his journey from mixing his first live show at age 14 in Cuba to becoming Network Audio Technical Manager at Telemundo—working across everything from award-winning news coverage to live telenovelas, entertainment programming, and global sporting events. To experience some of JC’s work, tune into virtually any live broadcast on Telemundo . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 15

Supervising Sound Editor, Re-recording Mixer, and Sound Designer Mixer David Acord and Supervising Sound Editor and Dialogue & ADR Supervisor Margit Pfeiffer join us to discuss the powerful, visceral sound of the final season of "Andor." As one of the darkest and most grounded series in the Star Wars galaxy, "Andor" features a deeply cinematic soundscape — ranging from brutal hand-to-hand combat to haunting silence, immersive crowd scenes, and intentionally fuzzy radio transmissions. David and Margit break down their collaborative process, the evolution of the sonic language across the series, and how they used Dolby Atmos® to bring audiences even deeper into the world of espionage, rebellion, and sacrifice. “We want to make sure that the audience feels the threat and the danger of these weapons. The impact of those weapons has to be violent… A laser whiz by has to strike fear.” —David Acord, Supervising Sound Editor, Re-recording Mixer, and Sound Designer, "Andor" Be sure to check out “Andor,” all episodes now streaming on Disney+, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 6

Mix engineer and recording engineer Jayda Love, along with Dolby Atmos® mix engineer Juan Razuri, join guest host Ben Givarz to discuss their work on Doechii’s Grammy®-winning mixtape, “Alligator Bites Never Heal,” which took home Best Rap Album at the 2025 GRAMMY Awards® and earned nominations for Best Rap Performance and Best New Artist. In this episode, Jayda and Juan break down their creative process — from initial recording sessions in Los Angeles to the immersive final mixes in Dolby Atmos. “A lot of the vocal production stuff — as a recording engineer — I'll help with layering and blending. That's a big thing for her. But a lot of the time, in terms of volume and placement and stuff, she's very hands-on. She'll be like, ‘I need those higher.’ And naturally, as an engineer, ‘I'm like, these are a little too loud.’ But then I'll finally get an ear break or hear it take a step back and I'm like, ‘oh, she's very particular about this stuff, especially the presence of her voice.’ And so I can definitely credit a lot of that to her.” —Jayda Love, Mix Engineer, “Alligator Bites Never Heal” by Doechii Stay connected! - You can listen to Doechii’s “Alligator Bites Never Heal,” as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services. - Follow Doechii on Instagram - Follow mix engineers Jayda Love and Juan Razuri on Instagram - Follow Top Dawg Entertainment on Instagram Interested in creating content in Dolby Atmos? Check out our FREE resources to give you a jump start! - Dolby Atmos Music Accelerator: https://www.dolby.com/creator-lab/music-accelerator/ - Dolby Atmos Essentials Course: https://learning.dolby.com/ - Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 29

Guest host Alistair Hirst returns to Dolby Creator Talks to speak with the audio team behind "Star Wars Outlaws," one of the most successful games of last year. Developed by Ubisoft's Massive Entertainment in collaboration with Lucasfilm Games, the title delivers a rich, cinematic gameplay experience — thanks to its immersive sound design and dynamic score. Recently nominated for a BAFTA in Audio Achievement, the team shares how they built the game’s soundscape from the ground up, mixing original Star Wars recordings with new field material to create unique environments, iconic weapons, and vehicles. They also explain how Dolby Atmos® was used to deepen the spatial realism — from starships above to rain on rooftops — and how their creative approach to sound design gave the game its gritty, signature edge. “First and foremost, we landed on three main pillars... The first of them being a cinematic experience... We really wanted to tell a story using audio... The second was making it a true and authentic Star Wars experience... And finally, we coined the phrase we call the scoundrel sound... It’s about keeping the grit from the original trilogy, but also updating the sounds to make them sound fresh and new.” —Simon Koudriavtsev, Audio Director, "Star Wars Outlaws" Joining today’s conversation from Massive Entertainment: - Simon Koudriavtsev - Audio Director - Jacob Coles - Lead Audio Designer - Martin Weissberg - Principal Audio Designer - Simon Siegfried Klar - Senior Audio Designer Be sure to check out "Star Wars Outlaws," available now in Dolby Atmos®, on supported platforms. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 17

Filmmaker Carlos López Estrada hosts a heartfelt and eye-opening conversation with five acclaimed artists about the power of storytelling to foster compassion, connection, and empathy. Joining the discussion: - Andrew Ahn – Filmmaker (“Fire Island,” “Driveways”) - Patricia Cardoso – Filmmaker (“Real Women Have Curves”) - Marcus Gardley – Screenwriter, Playwright (“The Color Purple”) - Qui Nguyen – Filmmaker, Screenwriter (“Raya and the Last Dragon”) - Sean Wang – Filmmaker (“Dìdi,” “Nǎi Nai & Wài Pó”) This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment. Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 25

Guest host Alistair Hirst returns to Dolby Creator Talks to sit down with the audio team behind "Helldivers 2," the hit third-person shooter from Arrowhead Game Studios. The game features a groundbreaking, immersive soundtrack which was recently nominated for a BAFTA in Audio Achievement . In this episode, the creative team breaks down how they crafted the game’s visceral soundscape—enhancing the gameplay with hard-hitting weapons, dynamic enemies, and a cinematic, larger-than-life mix. They also share how they utilized Dolby Atmos® to heighten the sense of immersion and verticality, from incoming projectiles to flying enemies. “Words that came up quite a lot were: visceral… chaotic... fairly violent… over-the-top movie trailer style sound effects. Grounded where possible, but larger-than-life, in-your-face, [and] action-inspired.” —Harvey Scott, Project Audio Director, "Helldivers 2" Joining the discussion: - Harvey Scott, Project Audio Director - Juuso Tolonen, Project Lead Sound Designer - Paola Velasquez, Senior Dialogue Designer - Simon Gumbleton, Senior Technical Sound Design Supervisor - Olliver Andersson, Sound Designer Be sure to check out “Helldivers 2,” now available on Sony Playstation in Dolby Atmos. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 13

Guest host Ben Givars returns to Dolby Creator Talks for a live panel at SXSW 2025 to discuss how Dolby Atmos® empowers musicians and creatives to take their music and audio to the next level. Producer and musician (Spoon) Jim Eno joins collaborators from Colorado-based fuzz folk band autumnal to discuss how he used Dolby Atmos to mix a totally immersive audio experience for their song, “breathing.” “There’s so much space. When you listen to an Atmos mix on a speaker system, you definitely hear things that you’ve never heard on a stereo mix, because they’re not cramped together… With Atmos you can take more freedom and liberties, and be able to hear more things around the 360 spectrum.” - Jim Eno - Musician, Producer, Project Traction Founder Joining the conversation: - Annalee Knies - Guitar, Vocals - autumnal - Geneva Hein - Synth, Vocals - autumnal - Justice Murray - Bass - autumnal - Jim Eno - Musician, Producer, Project Traction Founder - Sara L Hauser - Musician, Producer, Music Educator Learn more about Project Traction’s mission to bridge the gender gap in music production and engineering here . Special thanks to our partners at Rivian Automotive for showcasing their cutting-edge in-car Dolby Atmos audio systems at the festival . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 4

Recorded live at the 2025 Sundance Film Festival, Academy Award®-nominated director (“Raya and the Last Dragon”) Carlos López Estrada once again brings together a panel of first-time feature filmmakers making their world premieres at the festival. These five directors have graciously joined us to offer some insights in how to navigate the first-time filmmaker experience at Sundance, as well as how they overcame the challenges of getting their films made in the first place. Joining the discussion are: - Eva Victor - “Sorry, Baby” - Joel Alfonso Vargas - “Mad Bills to Pay: (or Destiny, dile que no soy malo)” - Cole Webley - “Omaha” - Katarina Zhu - “Bunnylovr” - Sierra Falconer - “Sunfish (& Other Stories on Green Lake)” This is another amazing conversation which is part of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment. Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 11

Table of Contents: CINEMATOGRAPHY 01:38 - “The Brutalist” - Lol Crawley 02:52 - “Dune: Part Two” - Greig Fraser 04:36 - “Emilia Pérez” - Paul Guilhaume 06:48 - “Maria” - Ed Lachman 09:08 - “Nosferatu” - Jarin Blaschke ORIGINAL SCORE 10:29 - “The Brutalist” - Daniel Blumberg 11:18 - “Conclave” - Volker Bertelmann 13:04 - “Emilia Pérez” - Clément Ducol and Camille 14:20 - “Wicked” - John Powell and Stephen Schwartz 15:39 - “The Wild Robot” - Kris Bowers SOUND 18:06 - “A Complete Unknown” - Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco 19:41 - “Dune: Part Two” - Gareth John, Richard King, Ron Bartlett and Doug Hemphill 20:57 - “Emilia Pérez” - Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta 22:59 - “Wicked” - Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis 24:26 - “The Wild Robot” - Randy Thom, Brian Chumney, Gary A. Rizzo and Leff Lefferts This past year featured some of the most stunning, innovative, and groundbreaking work in the categories of Cinematography, Original Score, and Sound. And since we’ve been diligently interviewing the artists and teams who have received Academy Award® nominations in those categories, we offer you this special round-up episode — to help give some greater insight into how to cast your final votes. The soundbites in this episode are mere snippets from the discussions we’ve been conducting through the past several months. If you’d like to take a deeper dive: FULL EPISODES, BY CATEGORY: = CINEMATOGRAPHY = “The Brutalist” 237 - Lol Crawley and the Cinematography of The Brutalist - Feb 10th, 2025 YouTube: https://youtu.be/d342-st5dvg Spotify: https://open.spotify.com/episode/0Txxk3xNAcmItPwsm9GquP Apple Podcasts: https://podcasts.apple.com/us/podcast/237-lol-crawley-and-the-cinematography-of-the-brutalist/id1549901182?i=1000690773442 “Dune: Part Two” 189 - Greig Fraser and the Cinematography of Dune: Part Two - March 5th, 2024 YouTube: https://youtu.be/39p8wPkhmtM Spotify: https://open.spotify.com/episode/5WMtD1WbGGVBgrlQtSFzON Apple Podcasts: https://podcasts.apple.com/us/podcast/189-greig-fraser-and-the-cinematography-of-dune-part-two/id1549901182?i=1000648108720 “Emilia Pérez” 220 - The Making of Emilia Pérez - Dec 4th, 2024 YouTube: https://youtu.be/VZruPNqHv3w Spotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2 Apple Podcasts: https://podcasts.apple.com/us/podcast/220-the-making-of-emilia-p%C3%A9rez/id1549901182?i=1000679018480 “Maria” 236 - Ed Lachman and the Cinematography of Maria - Feb 7th, 2025 YouTube: https://youtu.be/y1uEx9BXDZ4 Spotify: https://open.spotify.com/episode/30e3JLc9xRTLZfgg7c0cPd?si=05899a44c1794989 Apple Podcasts: https://podcasts.apple.com/us/podcast/236-ed-lachman-and-the-cinematography-of-maria/id1549901182?i=1000689894968 “Nosferatu” 231 - Jarin Blaschke, Robert Eggers, and the Cinematography of Nosferatu - Jan 28th, 2025 YouTube: https://youtu.be/uhYLPTwSfVY Spotify: https://open.spotify.com/episode/0zzEkGX2fQL9FxwtfhCBT7 Apple Podcasts: https://podcasts.apple.com/us/podcast/231-jarin-blaschke-robert-eggers-and-the/id1549901182?i=1000686124650 = ORIGINAL SCORE = “The Brutalist” 233 - Daniel Blumberg and the Music of The Brutalist - Feb 3rd, 2025 YouTube: https://youtu.be/ohPBfMo2v98 Spotify: https://open.spotify.com/episode/1xhqAR0GUvybmOGvcaqhZo?si=c679bc6941224e1a Apple Podcasts: https://podcasts.apple.com/us/podcast/233-daniel-blumberg-and-the-music-of-the-brutalist/id1549901182?i=1000688454940 “Conclave” 232 - Volker Bertelmann and the Music of Conclave - Jan 31st, 2025 YouTube: https://youtu.be/Z7xlFXTr3VQ Spotify: https://open.spotify.com/episode/0W4oIIRCzpoiMF4w5thSpR?si=51e129b468dd4c29 Apple Podcasts: https://podcasts.apple.com/us/podcast/232-volker-bertelmann-and-the-music-of-conclave/id1549901182?i=1000687473584 “Emilia Pérez” 220 - The Making of Emilia Pérez - Dec 4th, 2024 YouTube: https://youtu.be/VZruPNqHv3w Spotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2 Apple Podcasts: https://podcasts.apple.com/us/podcast/220-the-making-of-emilia-p%C3%A9rez/id1549901182?i=1000679018480 “Wicked” 219 - The Music of Wicked - Nov 27th, 2024 YouTube: https://youtu.be/_qF9_qT_ztk Spotify: https://open.spotify.com/episode/79mdpMosImmdtKDUoDIF6g Apple Podcasts: https://podcasts.apple.com/us/podcast/219-the-music-of-wicked/id1549901182?i=1000678378961 “The Wild Robot” 235 - Kris Bowers and the Music of The Wild Robot - Feb 5th, 2025 YouTube: https://youtu.be/fM1nvk52v_4 Spotify: https://open.spotify.com/episode/3TseTaQbcFpWncZplcFLzU?si=9a1ef6b7ff4d49f0 Apple Podcasts: https://podcasts.apple.com/us/podcast/235-kris-bowers-and-the-music-of-the-wild-robot/id1549901182?i=1000689221474 = SOUND = “A Complete Unknown” 223 - Director James Mangold and the Sound and Music of A Complete Unknown - Dec 9th, 2024 YouTube: https://youtu.be/_R3WD_QxzP4 Spotify: https://open.spotify.com/episode/64jXgTdR4Y18dqqZKmIZft Apple Podcasts: https://podcasts.apple.com/us/podcast/223-director-james-mangold-and-the-sound-and/id1549901182?i=1000679725091 “Dune: Part Two” 217 - Director Denis Villeneuve and the Sound of Dune: Part Two - Nov 21st, 2024 YouTube: https://youtu.be/wIDs4H82EQ0 Spotify: https://open.spotify.com/episode/2JRC52F4oMdBguMrtSorBp Apple Podcasts: https://podcasts.apple.com/us/podcast/217-director-denis-villeneuve-and-the-sound-of-dune-part-two/id1549901182?i=1000677747309 “Emilia Pérez” 220 - The Making of Emilia Pérez - Dec 4th, 2024 YouTube: https://youtu.be/VZruPNqHv3w Spotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2 Apple Podcasts: https://podcasts.apple.com/us/podcast/220-the-making-of-emilia-p%C3%A9rez/id1549901182?i=1000679018480 “Wicked” 222 - Director Jon M. Chu and the Sound and Editing Wizards of Wicked - Dec 6th, 2024 YouTube: https://youtu.be/nD0gzHEkGpk Spotify: https://open.spotify.com/episode/3DHMp9iqGCXH3IUcwoZTKb Apple Podcasts: https://podcasts.apple.com/us/podcast/222-director-jon-m-chu-and-the-sound-and/id1549901182?i=1000679449382 - AND - 234 - Capturing Wicked's Live Singing with Simon Hayes - Feb 4th, 2025 YouTube: https://youtu.be/h-riEjOFM60 Spotify: https://open.spotify.com/episode/7bNckC02essYgzzPggMleM?si=f357bb82399b4e84 Apple Podcasts: https://podcasts.apple.com/us/podcast/234-capturing-wickeds-live-singing-with-simon-hayes/id1549901182?i=1000688810671 “The Wild Robot” 210 - The Sound of The Wild Robot, with Writer/Director Chris Sanders - Oct 1st, 2024 YouTube: https://youtu.be/QaZIU8egZYg Spotify: https://open.spotify.com/episode/5i0jNA06OcpswgMmIElmai Apple Podcasts: https://podcasts.apple.com/ro/podcast/210-the-sound-of-the-wild-robot-with/id1549901182?i=1000671390545 If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 10

Academy Award®-nominated cinematographer Lol Crawley joins us to discuss his approach to "The Brutalist," the epic indie film from writer / director Brady Corbet. Crawley delves into his decision to shoot the film in VistaVision, how it shaped the film’s aesthetic, and his use of practical lighting to create its atmospheric look. He also shares insights into how they executed the film’s many “oners” (one-shot scenes), the challenges of capturing the marble quarry sequence, and how his cinematography reinforces the film’s themes of ambition, displacement, and artistic legacy. “The VistaVision shot… it's a little bit like anamorphic, in the sense of [it capturing] two things in one. You get this intimacy, but you also have this wide field of view. So you see the world, and you see the performance. And I think that's what gives the film a certain grandeur. And its debt to early 50s, 60s American cinema.” —Lol Crawley, Director of Photography, "The Brutalist" Be sure to check out “The Brutalist,” now in theaters. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 7

Academy Award®-nominated cinematographer Ed Lachman joins us to discuss his gorgeous cinematography on “Maria,” directed by Pablo Larraín. The seasoned director of photography shares his approach to blending formats — including 35mm, Super 8, and 16mm — to capture the operatic essence of Maria Callas’s life, as well as his use of color psychology, lighting techniques, and period-specific film stocks to evoke emotion and authenticity. "Opera and cinema are very similar… Opera's images are not representational either. Like cinema. And they create the subtext for the emotions of the story. And what helps to create the nonverbal form of communication is the same thing that happens in music of the opera. It's a heightened reality… I felt the film could be a representation if her life, mirrored in the operas that she sang in. And even though people say she was the sum of the tragedies of the opera she sang, I believe she had the resistance and strength to overcome." —Ed Lachman, Director of Photography, “Maria” Be sure to check out “Maria,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 5

Academy Award®-nominated composer Kris Bowers joins guest host Jon Burlingame to discuss his stunning orchestral score for "The Wild Robot," directed by Chris Sanders. The composer dives deep into how he crafted the film’s sonic landscape, incorporating orchestral textures, electronic elements, and unique percussive sounds. He also shares insights into his collaboration with director Chris Sanders and how becoming a parent influenced his emotional approach to crafting the film’s original score. “Chris [Sanders] talked about the role that music was going to need to play in this film... He already knew there were going to be these long stretches where we would have little to no dialogue. And he was trusting that music could help tell the story in those moments… Because for him, the idea of kindness as a survival technique, that was very, very key to the story... Really this idea of music needing to have this vulnerability, this warmth, clear melodic statements, and then also having the ability to go from small intimate moments to really big, huge action sequences.” —Kris Bowers, Composer, "The Wild Robot" Be sure to check out “The Wild Robot,” now available to stream and on Blu-ray, in Dolby Vision® and Dolby Atmos®. The soundtrack to “The Wild Robot” by Kris Bowers is also available to stream on Apple Music in Dolby Atmos! And don’t miss our previous episode on the sound of “The Wild Robot,” with writer and director Chris Sanders. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 4

Academy Award®-winning production sound mixer Simon Hayes joins us to discuss his groundbreaking work on “Wicked.” Nominated for his third Oscar®, Hayes shares how he captured live vocals on set, blending the technical innovation with the emotional. He reflects on lessons learned from “Les Misérables,” how he worked seamlessly with the music department, and the intricate process of ensuring performers like Cynthia Erivo and Ariana Grande had the freedom to deliver their most powerful performances while always staying in sync with the film’s score. "We had no idea that when Cynthia and Ari sung together, their voices would mesh the way that they did. And something very, very special happens when those two sing together… That first time when I had my cans on, and they were dueting, and the hairs on the back of my neck started standing up, and you get that tingle… You just know, as a sound mixer, 'My God, we've struck gold.' This is something very unique and special." —Simon Hayes, Production Sound Mixer, “Wicked” Be sure to check out “Wicked,” now available to stream at home in Dolby Vision® and Dolby Atmos® . And don’t miss our previous episode featuring Stephen Schwartz and the music team behind “Wicked , as well as our episode with Director Jon M. Chu and the film’s post-production team . You can also check out the video for this episode. Please subscribe to Dolby Creator Talks wherever you get your podcasts . Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 3

Academy Award®-nominated composer Daniel Blumberg joins guest host Jon Burlingame to discuss his evocative and unconventional music for "The Brutalist," directed by Brady Corbet, which earned the film an Oscar® nomination for Best Original Score. Blumberg shares how his long-time friendship with Corbet influenced the creative process, how he crafted the film’s musical language using improvisational techniques, and how he recorded some of the score’s most striking pieces — including a live jazz sequence and a prepared piano overture, which was played on set to help choreograph the movement of one of the film’s opening sequences. "[Brady Corbet] wanted to shoot the overture [of] Laszlo leaving the Holocaust behind, arriving in New York, and the optimism of seeing the Statue of Liberty to music. So that was one of my first priorities: To create a demo that would work on set… I had this sample of a piano that I’d prepared in London. This sort of percussive piano where you interfere with the strings… John Cage put screws in between strings, and that was a sound that felt right… A few weeks later, we were playing it really loud on the set. And it was great because the cinematographer could move to the music and Adrian could move to the music and the music could cue the extras… I think it was successful in terms of having an impact for the opening of the film.” —Daniel Blumberg, Composer, "The Brutalist" Be sure to check out “The Brutalist,” now playing in theaters. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 31

Academy Award®-winning composer Volker Bertelmann joins guest host Jon Burlingame to discuss his tense and atmospheric score for “Conclave,” directed by Edward Berger. Nominated for his third Oscar, Bertelmann — who won in 2023 for Berger’s “All Quiet on the Western Front” — shares how he crafted the film’s unique musical palette, eschewing the sounds of traditional church music in favor of experimental instruments like the Cristal Baschet. He also discusses his approach to scoring thrillers as well as his deep collaboration with Berger. “[Edward Berger’s] feeling is that music is a third dimension, in a way. That it's something that adds a layer to the film… You can create links to scenes, but you can also use music detached from what you see… You can use it in areas where it's already starting to give someone a feeling, that you don't see in the scene, but somehow… undercurrent-ly… starts to rise… What I think Edward works a lot with is building tension up, but then cutting the music pretty hard, into silence. And then you're left in the silence. But the moment where it's cut is very important… It is intentionally being cut at a certain moment, and then there is maybe a natural sound where you suddenly feel much closer to the person than you felt before, because you are alone with a person in silence.” —Volker Bertelmann, Composer, “Conclave” Be sure to check out “Conclave,” now in theaters and available to stream in Dolby Vision® and Dolby Atmos®. Volker Bertelmann’s soundtrack to “Conclave” is also available to stream on Apple Music in Dolby Atmos. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 28

We are joined by Director of Photography and first-time Academy Award® nominee Jarin Blaschke, as well as Director Robert Eggers, to discuss the stunning cinematography of “Nosferatu.” Together, the frequent collaborators delivered a gothic masterpiece, blending German romanticism and chilling horror into stunning, painterly visuals. In this conversation, Eggers and Blaschke discuss the meticulous development of the film’s look, the challenges of shooting with practical lighting, and their shared love for highly composed one-take shots. From the fog-drenched crossroads to the eerie interiors of Orlok's castle, the pair reveal the painstaking care and simple, practical ingenuity that brought this cinematic fever dream to life. “I’m just trying to curate life… What kind of optics just feel right? The little flare around the windows. What is the lens that just feels nice? Let’s just look at a bunch of those. Let’s have lenses made. We’re very privileged in that we can do that now and see what that looks like.” —Jarin Blaschke, Director of Photography, “Nosferatu” This conversation was a live webinar as part of Dolby Creator Lab’s partnership with Sundance Collab, the digital platform from the Sundance Institute designed for filmmakers, with exclusive webinars, curated resources, and free educational videos. Be sure to check out “Nosferatu” in Dolby Vision® and Dolby Atmos®, in select theaters. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Our previous episode with Robert Eggers and Sound Designer Damian Volpe, discussing the sound of "Nosferatu,” is now on YouTube . Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 16

Mix engineer and producer Cian Riordan as wells as mix engineer Matt Cerritos join guest host Ben Givarz to discuss their work on St. Vincent’s seventh studio album, “All Born Screaming,” which garnered critical acclaim and four GRAMMY® nominations, and is now available in stunning Dolby Atmos®. Cian and Matt discuss the recording and mixing process, how they collaborated to re-mix the album in Dolby Atmos, and the unique opportunities this immersive audio format provided to elevate the experience of the album and give it new dimensionality, while maintaining its emotional and sonic integrity. “Going in, being extremely happy with the stereo mixes, I didn’t want Atmos to be something that was drastically different. I still wanted to have it play the same ‘tricks’ on the listener [and] hit people the same way. With Atmos, it’s a little bit more difficult because you can’t really rely on having a heavy-handed mix bus. Loudness all has to be perceived because of the headroom requirements for the Atmos format. So it’s a different way of wrapping your head around it. And Matt, from doing this day-in and day-out, knew how to approach a lot of these concepts that we were bringing, creatively. And he really helped technically execute. It was a really fun process.” —Cian Riordan, Mix Engineer and Producer, “All Born Screaming” by St. Vincent You can listen to St. Vincent’s “All Born Screaming,” as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services . Interested in creating content in Dolby Atmos? Check out our FREE resources to give you a jump start! - Dolby Atmos Music Accelerator: https://www.dolby.com/creator-lab/music-accelerator/ - Dolby Atmos Essentials Course: https://learning.dolby.com/ - Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ To find out more about St. Vincent, check out: https://ilovestvincent.com To learn more about Just For The Record Studios, go to: https://justfortherecord.com Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 9

Celebrating the 35th anniversary of “3 Feet High and Rising,” De La Soul's iconic 1989 debut album, mix engineer Rich Keller joins Dolby Creator Talks guest host Ben Givarz to discuss reimagining the group’s legendary catalog in Dolby Atmos®. Rich reflects on the process of remixing these classics while preserving their essence, and explores how Dolby Atmos enhances hip-hop’s depth, energy, and spatial dynamics. Drawing from his work with legends like DMX, Wu-Tang Clan, Nas, and many other hip-hop artists, Rich offers invaluable insights into honoring the past while embracing the exciting new creative possibilities with Dolby Atmos. “There's only one hard rule that I maintain when doing Atmos... and this is the one lesson that keeps on giving. When you're dealing with stereo stems, keep 'em wide. All the way hard left and right. Because as soon as you bring it in, you've changed the mix... You got to keep the artist happy... I've had them here in my room, in my little basement. They come down, they sit down, and I go back and forth to the stereo. Then they freak out. They're like, 'Oh my God, that sounds incredible. And it sounds big! But it still sounds like my song. Thank you.' And that's the critical thing.” —Rich Keller, Audio Engineer This interview is part of our ongoing music series, "Reimagining the Classics." You can listen to De La Soul, as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services . Interested in creating content in Dolby Atmos? Check out our FREE resources to give you a jump start! - Dolby Atmos Music Accelerator: https://www.dolby.com/creator-lab/music-accelerator/ - Dolby Atmos Essentials Course: https://learning.dolby.com/ - Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ To find out more about Rich Keller and his work, check out his website: https://richkellermusic.com/ Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 7

Academy Award®-winning filmmaker Sir Steve McQueen joins us to discuss his latest feature, “Blitz,” alongside his acclaimed sound team. The film, which explores the harrowing experience of the London Blitz during World War II, is shortlisted for Best Sound at the upcoming Academy Awards. In this episode, McQueen and his team take a deep dive into the process of creating a visceral, immersive soundtrack that captures both the chaos and quiet moments of survival, all presented in stunning Dolby Atmos®. And the film starts off with a literal bang, all designed to plunge the audience directly into the horrors of this place and time. “The backbone of [films], for me as a filmmaker, is sound. It's always been sound. Sound is much more important to me than images in some ways. Because when you hear something, you feel the weight of it. When you hear something, you sort of even smell it… Images, yes, they illustrate. But they don't tell you about the size and the mass of things. And that's what we wanted to jump in with two feet with, immediately. With that terror.” —Sir Steve McQueen, Director, Producer, Screenwriter, “Blitz” Joining today’s conversation: - Sir Steve McQueen – Director, Producer, and Screenwriter - Paul Cotterell – Re-Recording Mixer and Supervising Sound Editor - James Harrison – Re-Recording Mixer and Supervising Sound Editor - John Casali – Academy Award®-winning Production Sound Mixer Be sure to check out “Blitz,” now streaming on AppleTV+ in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 24, 2024

Turning a script into a fully packaged film can be one of the most daunting challenges for any filmmaker. From assembling the right team to securing financing and attracting talent, the process—known in the industry as “packaging”—requires strategy, creativity, and connections. To help demystify this process, filmmaker Carlos López Estrada hosts another insightful Satellite Session, featuring an exceptional panel of producers, financiers, and agents who share their real-world experience and insider tips on packaging films. Joining the discussion: - Alex Coco – Producer (“ANORA”) - Dave Green – Director (“Teenage Mutant Ninja Turtles”) - Chris Quintos Cathcart – Independent Film Financier (“Dìdi”) - Phil Sun – President and Managing Partner, M88 - Katie Laner – Literary Agent, CAA This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment. Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 17, 2024

Nine-time GRAMMY Award®-winning audio engineer Mick Guzauski and Robert Guzman, audio engineer at Studio DMI, join guest host Ben Givarz to discuss their work reimagining Daft Punk's iconic album “Random Access Memories,” in Dolby Atmos® for its 10th Anniversary Edition. Mick takes us back to the album’s original recording sessions, sharing how he and Daft Punk meticulously crafted the sound that went on to win Album of the Year in 2013. Robert adds his perspective on adapting the record to Dolby Atmos, a process that opened up new spatial dimensions while staying true to the album's artistic intent. This interview is part of our music series, "Reimagining the Classics." “You could do a lot more analysis of it from Atmos by separating channels and things, but I think Dolby Atmos added to the experience of the album. There's so much going on in parts of that album that I think Atmos was a big, big improvement, a big benefit for some of those really dense parts to separate and to be in their own space.” —Mick Guzauski, Audio Engineer You can listen to Daft Punk’s “Random Access Memories (10th Anniversary Edition)” as well as many other classic and contemporary albums in Dolby Atmos, on enabled streaming services . Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start! - Dolby Atmos Music Accelerator: https://www.dolby.com/creator-lab/music-accelerator/ - Dolby Atmos Essentials Course: https://learning.dolby.com/ - Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ Learn more about Robert Guzman and Studio DMI here: https://www.studiodmi.com/ Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 12, 2024

Visionary director Robert Eggers joins forces with acclaimed sound artist Damian Volpe to deliver a stunning reimagining of the classic vampire tale “Nosferatu.” In this episode, Eggers and Volpe take us behind the scenes to discuss how they used cutting-edge sound design and Dolby Atmos® to create a truly terrifying and immersive experience. From the spectral sounds of Count Orlok’s castle to the brilliant use of silence and dynamic range, this conversation unpacks the intricate audio techniques that make the film so unforgettable. “I mean, it begins even before [the first scene] with the quote-unquote logo animations. [We] recreated silent film-style logos… with audio analog hiss and some wind, which morph into each other. You know, I think these horror film cold openings that end with a jump scare, when they’re done successfully… keep you on edge of your seat for the rest of the film because… you know that anything’s possible.” —Robert Eggers - Director, Writer, and Producer, “Nosferatu” Joining today’s conversation: - Damian Volpe - Sound Designer, Supervising Sound Editor, and Re-recording Mixer - Robert Eggers - Director, Writer, and Producer Damian Volpe also wanted to thank his fellow team members: - Steve Little - Sound Supervisor - David Giammarco - Re-recording Mixer - Michael Fentum - Sound Designer - Heikki Kossi - Foley Artist - Shelley Rodin - Foley Artist - Joel Raabe - Foley Editor/Mixer - Grace Wong - Assistant Sound Editor - Tim Hands - ADR Editor - Samir Foco - Sound Effects Editor Be sure to check out “Nosferatu” in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®, when it premieres in the U.S. on December 25th . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 10, 2024

“Maria,” the latest film from director Pablo Larraín, offers a mind-bending exploration of the life and final days of legendary opera singer Maria Callas, with Angelina Jolie delivering a transformative performance. To bring her world to life, the acclaimed sound team faced the unique challenge of blending iconic original recordings of Callas with actual, live performances from Jolie, who trained extensively to sing opera at a professional level. “We absolutely went into this with the idea that Angelina was gonna do this live… She called it ‘face singing,’ because it's so unnatural. It's not a pop song in your shower or in your car where you kind of just go along with it. It's constantly changing tempos and dynamics; that's super hard to reproduce. I mean, what she did was incredible to even begin to approach this.” —Mac Ruth, Production Sound Mixer, “Maria” From live on-set vocal performances to intricate post-production layering, the team reveals their cutting-edge techniques for weaving together these extraordinary performances into a seamless auditory experience. Joining today’s discussion are: - Lars Ginzel – Re-Recording Mixer - Mac Ruth – Production Sound Mixer - Gwennolé Le Borgne – Sound Designer - John Warhurst – Supervising Sound Editor Be sure to check out Maria, now playing in select theaters and streaming on Netflix in Dolby Vision® and Dolby Atmos® starting December 11th . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 9, 2024

The director and sound team join us to discuss their work on the new Bob Dylan biopic, “A Complete Unknown,” covering the cast’s extraordinary performances, how they recreated those iconic original recordings, and why it took so long to bring this film to the screen, after being greenlit five years ago. Joining the conversation: - James Mangold, Director, Co-Writer, and Producer - Ted Caplan, Supervising Music Editor - Tod Maitland, Sound Mixer - Donald Sylvester, Supervising Sound Editor - Paul Massey, Re-Recording Mixer Be sure to check out “A Complete Unknown” in theaters in Dolby Vision® and Dolby Atmos®, when it premieres in the U.S. on December 25th . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 6, 2024

Director Jon M. Chu joins us, alongside the brilliant editing and sound team behind “Wicked,” the hit movie musical based on the beloved Broadway show. Joining the discussion: - Jon M. Chu – Director - Myron Kerstein – Editor - John Marquis – Supervising Sound Editor, Sound Designer, Re-Recording Mixer - Nancy Nugent Title – Supervising Sound Editor - Jack Dolman – Supervising Music Editor - Andy Nelson – Re-Recording Mixer Following our previous episode on the music of “Wicked,” this conversation dives deep into the film’s innovative sound design, immersive mixing, and groundbreaking visual storytelling. Hear how the team seamlessly integrated sound, music, and picture to bring the world of Oz to life as well as how the live recordings brought authenticity and spontaneity to the performances, creating magical moments that could only happen on set. "Some of the moments that we got in the movie were only because of the live [recordings]. There were moments that went viral... if we had tried to record that, Steven Schwartz would’ve killed that in one second in the recording... But by that point [on set], [Ariana Grande] was riffing, she was Glinda. Or even in 'I’m Not That Girl.' That beginning of it is just so delicate, that Cynthia’s just barely singing coming in. And when she starts to do those riffs... that’s the magic, actually, that happened." —Jon M. Chu, Director, “Wicked” Be sure to check out “Wicked,” now playing in theaters, in stunning Dolby Vision® and Dolby Atmos® . And don’t miss last week’s episode featuring Stephen Schwartz and the music team behind “Wicked,” now on YouTube! Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 5, 2024

NOTE: This interview contains spoilers! Academy Award®-nominated filmmaker RaMell Ross and his acclaimed sound and music team join us to discuss the making of “Nickel Boys.” In adapting Colson Whitehead’s Pulitzer Prize-winning novel, Ross employed first-person cinematography to draw audiences directly into the emotional and physical experiences of the film’s protagonists in a completely immersive way. This innovative approach created unique challenges for the sound team. “I know before we make the film that the sound is going to be deeply complex… Dan [Timmons] worked so long on this thing because it's so subjective… You can go too far [with the sound]… in a way in which it's so abrasively rendered, that it pushes you away.” —RaMell Ross, Co-Writer and Director, “Nickel Boys” Joining the discussion are: - RaMell Ross – Co-Writer and Director - Alex Somers – Composer - Scott Alario – Composer - Tony Volante – Supervising Sound Editor and Re-Recording Mixer - Daniel Timmons – Supervising Sound Editor and Re-Recording Mixer This conversation was recorded as a live panel discussion after a screening of the film at the New York Film Festival. It was part of Dolby’s support for the FLC Artist Academy program, which brings conversations about the art and craft of filmmaking to the next generation of directors: https://www.filmlinc.org/academy-programs/artists-academy/ Be sure to check out Nickel Boys, in limited theatrical release starting December 13th, by Amazon MGM Studios . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 4, 2024

The groundbreaking musical “Emilia Pérez,” which captured the Jury Prize at Cannes, is redefining the movie musical genre. Directed by the visionary Jacques Audiard, the film explores identity, transformation, and redemption with a powerful ensemble cast. From the vibrant choreography of its musical numbers to its daring and surreal visual style, “Emilia Pérez” is a boldly original film. Join us as we dive behind the scenes with the creative team to uncover how this extraordinary film was brought to life and how it all came together as a successful musical. "[Director] Jacques [Audiard} always says he had this idea a long time ago — to make a little opera. And then for this movie, he finally decided to turn it into a musical. But for some reason, I think when he started the idea, he just made a treatment. And then, [composers and songwriters] Camille and Clément started to work." —Juliette Welfling, Editor, “Emilia Pérez” Joining today’s conversation are: - Juliette Welfling – Editor - Paul Guilhaume – Director of Photography - Cyril Holtz – Re-Recording Mixer & Sound Supervisor - Clément Ducol – Composer - Camille – Songwriter Be sure to check out “Emilia Pérez,” now streaming in Dolby Vision® and Dolby Atmos® on Netflix . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 27, 2024

Academy Award® and Grammy Award®-winning songwriter Stephen Schwartz, Tony Award®-winning musical director Stephen Oremus, and Oscar-nominated composer John Powell join guest host Jon Burlingame for an in-depth discussion about bringing the iconic Broadway musical “Wicked” to the big screen. Together they discuss how they collaborated with director Jon M. Chu to adapt the beloved musical into a cinematic experience, the challenges of blending live and pre-recorded vocal performances, and the ways in which they expanded the orchestral arrangements to match the scale of this massive Hollywood movie musical. “We had spent so much time — and by ‘we’ I mean myself and [writer] Winnie Holtzman — when we were writing the screenplay, which of course includes the songs [and] going through everything very meticulously with [director] John Chu, that basically he came in knowing how he was going to shoot it… But then, of course, once you're actually there and working with bodies and working within the environment, things will change… This was an extremely collaborative process all along the way. It wasn't as if we did some music work, then went away, and came back and were surprised by what was done with it… Nobody sort of went off and did his thing by himself.” —Stephen Schwartz, Executive Producer, Music and Lyrics, “Wicked” Be sure to check out “Wicked,” now in theaters in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 26, 2024

Renowned film composer Harry Gregson-Williams joins guest host Jon Burlingame to discuss his sweeping score for “Gladiator II,” the highly anticipated sequel to Ridley Scott’s 2000 Academy Award®-winning classic. Having collaborated with Scott on seven films now, Gregson-Williams shares his approach to crafting a fresh sound for the world of Gladiator while also paying homage to Hans Zimmer’s iconic original score. From using ancient-inspired instruments and choirs, to experimenting with vocalists from around the globe, Gregson-Williams reveals how he wove together a richly textured score that enhances the film’s epic scale and emotional depth. “The conversation I had with Ridley at first was that this is a fresh movie. It relates to the first movie, [but] let's not make our first port of call anything to do with the first score, thematically or otherwise, which was quite liberating. I knew we would circle back somehow, and lean on some of Hans's thematic material, just occasionally.” —Harry Gregson-Williams, Composer, “Gladiator II” Be sure to check out “Gladiator II,” now in theaters and Dolby Cinemas in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 21, 2024

“I think that sound is, by far, the most powerful tool in the cinematic language.” —Denis Villeneuve, Director, Co-Writer, and Producer, “Dune: Part Two” Director Denis Villeneuve returns to Dolby Creator Talks to discuss the incredible sound work in “Dune: Part Two,” his latest adaptation of the epic sci-fi saga. He and his multiple Academy Award®-winning sound team share their thoughts on how sound plays such a pivotal role in his films, offering insights into his process of integrating sound design even during the early stages of development. From Paul’s iconic worm-riding sequence to the hauntingly quiet deserts of Arrakis, this episode explores the bold artistic choices that make the film such an immersive sonic experience. Joining today’s conversation: - Richard King - Supervising Sound Editor and Sound Designer - Ron Bartlett - Re-Recording Mixer - Doug Hemphill - Re-Recording Mixer - Clint Bennett - Supervising Music Editor Be sure to check out “Dune: Part Two,” now streaming in Dolby Vision® and Dolby Atmos® on MAX. Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 19, 2024

Multiple Emmy® Award-winning A1 audio mixer Glenn Stilwell joins us for an in-depth discussion on mixing live sports in Dolby Atmos®. As one of the first to adopt this immersive audio technology for sports, Glenn shares his journey into the high-pressure world of live sports audio, where he has worked on everything from the Olympics to Apple’s Friday Night Baseball. From setting up microphones for the iconic “bat crack” in baseball to leveraging the immersive capabilities of Atmos for crowd sounds and announcer placement, this conversation offers a fascinating behind-the-scenes look at the artistry and challenges of live sports audio production. “When you go from stereo… now the room that you're listening in has opened up. The room, it feels bigger. Now imagine when you add four more speakers above you, now the room really opens up… If you can spread things out and get them away from the center channel, which is — the money. If the money's in the middle and the room becomes bigger, it becomes more distinct.” —Glenn Stilwell, A1 Audio Mixer and Engineer Special thanks to Major League Baseball and Apple for this week’s episode. You can find MLB’s Friday Night Baseball, now exclusively on Apple TV+ . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 14, 2024

The art of pitching is a high-stakes, nerve-wracking aspect of filmmaking, where ideas transform from concepts into potential projects. Joining us to help demystify the pitching process is Dolby Institute Fellowship winner Carlos López Estrada, hosting another insightful Satellite Session from April 2024. Carlos gathers an exceptional panel featuring film and television creators, each sharing personal insights and practical tips on crafting pitches, to offer invaluable wisdom on what it takes to pitch a project and navigate the journey from idea to production. Joining today’s discussion are: - Marvin Lemus – Director, Co-creator, and Co-showrunner of Netflix's Gentefied - Sadé Clacken Joseph – Director of Rap Sh!t on HBO Max, CEO of Out of Many Media - Francisco Cabrera-Feo – Writer for Acapulco on Apple TV+ and Gordita Chronicles - Matt Braly – Creator and Showrunner of Disney’s Amphibia - Jessica Virtue – SVP of Production at Walt Disney Pictures This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment. Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 22, 2024

You have probably heard about the Hollywood writer’s room, but what, exactly, goes on inside one? Joining us once again to demystify yet another filmmaking topic is our good friend — and Dolby Institute Fellowship winner — Carlos López Estrada, with another of his excellent Satellite Sessions — this one from March 2024. Carlos welcomes an impressive and diverse panel of film and television writers to share their experiences, break down how these rooms come together, and discuss how collaboration drives storytelling from inception to screen. Joining today’s discussion are: - Teresa Hsiao – Writer, Producer, and Co-creator of “Awkwafina is Nora from Queens” - Charise Castro Smith – Writer, Director, and Academy Award®-winning Co-writer and Co-director of “Encanto” - Amy Aniobi – Head Writer and Co-executive Producer of “Insecure.” - Francisco Cabrera-Feo – Writer for “Acapulco” on Apple TV+ and “Gordita Chronicles” This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment. Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 15, 2024

Pharrell Williams has had a remarkable life and career in music, which are chronicled in the film “Piece By Piece,” a uniquely animated documentary made entirely out of LEGO. Joining today’s discussion is Director Morgan Neville, Supervising Sound Editor Al Nelson, and Re-recording Mixer Pete Horner, to talk how Pharrell’s creative vision for using LEGO opened up exciting storytelling possibilities, the film’s imaginative sound design and immersive audio mix, and how they brought Pharrell’s experience with synesthesia to life through sound and animation. “This film had so many more opportunities than a documentary normally [has]. Because of animation, I felt like we could time- and space-travel… That kind of freedom I got incredibly excited by. Normally we have so many constrictions, but both in terms of what I could do with sound, but also particularly with Pharrell, what I could do visually with sound. Both in terms of creating the synesthesia effect — which he sees color when he hears sound, and that we could actually see that — and by creating the beats, represented by physical objects of color, too. So that, from a storytelling point of view, was great.” —Morgan Neville, Director, Writer, and Producer, “Piece By Piece” Be sure to check out Piece by Piece , now in theaters and Dolby Cinemas in stunning Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 11, 2024

Academy Award®-winning composer Hildur Guðnadóttir and executive music producer Jason Ruder join our guest host, music journalist Jon Burlingame, to discuss their extraordinary work on “Joker: Folie à Deux.” The sequel to 2019’s Oscar-winning “Joker” comes with high expectations, and Hildur and Jason talk about the challenge of evolving the sound of the Joker universe, while incorporating new elements like live-recorded songs and experimental instruments. They discuss how the music helps define the tone of the movie, blurring the lines between score and song to create an immersive experience. “We really wanted to honor the sound world that we had already established [from the first film]... so we didn't want to go too far away from it. We knew that there would be strings and there would be a cello connection… Well, it just so happened that my instrument that I used in the first song got stolen a week before the recording session. So I had actually intended to just use the same instrument, but the Gods of Creativity forced me in a different direction… So I came up with this idea of creating what I call ‘the string prison.’ It’s literally like an electric fence that’s playable... an electroacoustic, large scale, playable string instrument that formed this prison cell of very, very, very hot strings, that I played through another instrument.” —Hildur Guðnadóttir, Composer, “Joker: Folie à Deux” Be sure to check out “Joker: Folie à Deux,” now in theaters, in Dolby Vision® and Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 8, 2024

Director and co-writer Nora Fingscheidt joins her sound team to discuss their extraordinary work on the new film “The Outrun” — a moving portrayal of one woman’s struggle with sobriety and memories of a traumatic childhood, using sound design to explore the emotional landscape of its main character, Rona, played by the extraordinary Saoirse Ronan. From the quiet, wind-swept expanses of the Orkney Islands to the bustling streets of London, the team reveals how they crafted distinct sonic environments that reflect Rona’s turbulent emotional journey. The film was a standout at this past year’s Sundance Film Festival and is a masterclass in how to use sound design to tell a compelling, layered story. Joining today’s discussion: - Nora Fingscheidt - Director and Co-Writer - Gregor Bonse - Re-Recording Mixer - Dominik Leube - Supervising Sound Editor & Sound Mixer - Oscar Stiebitz - Sound Designer & Sound Mixer "As soon as we get together - this crew, with our composers - we see it as this merging [of an] audio landscape, between sound design, mix and music. And we start thinking, ‘how should this movie sound?’ Basically at the same time as I get together with the DOP discussing, ‘how should this movie look?’ It's 50% image, 50% sound, no matter what the budget is.” —Nora Fingscheidt, Director and Co-Writer, “The Outrun” Be sure to check out “The Outrun” now in theaters, in stunning Dolby Atmos® . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 1, 2024

Legendary filmmaker, animator, writer, and voice actor Chris Sanders (you may know him as “ Stitch ”) joins his sound team — including our first-ever guest on this podcast, Randy Thom — to talk about their stunning work on the latest animated adventure/tearjerker from DreamWorks Animation, “The Wild Robot.” A truly visual spectacle, the film has an appropriately spectacular soundtrack, which Chris and the team relished in crafting its richness and complexity for over two years. “We didn't have any score at all for a while. So one of the really neat things about the opening [reel] is that it's all sound design. It's all sound effects, which is really, really cool. I was impressed with how much detail — and it was necessary to have that kind of detail — and because we had the opportunity of getting as deep into this as we wanted to. So it's an especially good reason to go see this movie on a big screen as the sound of this whole film is really is so spectacular.” —Chris Sanders, Writer and Director, “The Wild Robot” Joining today’s discussion: - Chris Sanders - Writer and Director - Randy Thom - Sound Designer - Gary Rizzo - Re-recording Mixer - Leff Lefferts - Re-recording Mixer & Supervising Sound Editor Be sure to check out “The Wild Robot” in stunning Dolby Vision® and Dolby Atmos®, in theaters now . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Sep 19, 2024

“The Rise and Fall of Ziggy Stardust and the Spiders from Mars” is the first David Bowie studio album to be released in Dolby Atmos® and joining us today is Ken Scott, the original co-producer of the album (and many others from Bowie), as well as Dolby Atmos mix engineer, Emre Ramazanoglu. Ken Scott is a legend in the world of music production and engineering, and he takes our guest host, Ben Givarz, inside the studio with David Bowie to explore the production of the original album and discusses how he wanted to create a new experience for listeners in Dolby Atmos, which also led him to the creation of brand new stereo mixes. This interview is part of our new series, "Reimagining the Classics." “If you're going to ask people to listen to a record in a different format, you need to give it to them totally in that format, not just take the stereo and just put things in different places. It should be something different so that they become interested in it again. And I think it worked, because Woody, [Bowie’s] drummer, he heard some of it — and his first words were, ‘I felt as if I was there with the band.’ He felt as if he was on stage, because it surrounded him so much. Which is exactly what we were aiming for.” —Ken Scott, Record Producer and Mix Engineer You can listen to these and many other classic and contemporary albums in Dolby Atmos, on enabled streaming services. You can purchase the album, “The Rise and Fall of Ziggy Stardust and the Spiders from Mars,” here: https://davidbowie.com/ https://rhino.com/ Many thanks to Mike Exeter for the B-roll of Ken and Emre in the mixing studio. The full video can be viewed here: https://youtu.be/LVcagYbrd6o Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start! - Dolby Atmos Music Accelerator: https://www.dolby.com/institute/music-accelerator/ - Dolby Atmos Essentials Course: https://learning.dolby.com/ - Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on our YouTube channel. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Sep 10, 2024

“Sing Sing” — an independent feature film now in theaters — made a big splash at last year’s Toronto International Film Festival. Directed by Greg Kwedar, the film is notable for its unique casting approach, blending actors such as Colman Domingo with real-life, formally incarcerated individuals. It’s set in the Sing Sing Correctional Facility in New York, focusing on the prison’s theater troupe. But one of the most interesting aspects of the production was how it was financed. And in particular how it used a profit-sharing model where all crew members, including those non-professional actors, received a share of the film's profits. Today’s discussion details how exactly that financing strategy worked, as well as the inspiring journey to getting the film made. Joining today’s discussion: - Carlos López Estrada - Moderator - Valerie Bush - Moderator - Greg Kwedar - Producer, Director, and Writer, Sing Sing - Clint Bentley - Producer and Writer, Sing Sing - Monique Walton - Producer, Sing Sing Be sure to check out Sing Sing, now playing in theaters . This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment. Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Sep 5, 2024

Multi-platinum mixer and engineer Richard Chycki joins us to dive deep into his work with legendary rock bands such as Aerosmith, Alice Cooper, Dream Theater, Mick Jagger, and, of course, the iconic Rush. Richard has been at the forefront of immersive audio with his Dolby Atmos® mixes of Rush classics like “Moving Pictures” and “Signals,” building upon his original surround mixes. In this conversation with guest host Ben Givarz, Richard shares his process for respecting the creative intent of these timeless tracks while adapting them to Dolby Atmos, ensuring an immersive experience that translates seamlessly across various playback systems. He delves into how Dolby Atmos allows him to emphasize the sonic nuances of Geddy Lee's voice and bass, Alex Lifeson's intricate guitar work, and Neil Peart's legendary drumming, all while maintaining the integrity of the original recordings. Plus, he offers his insights into the future of music mixing, and his excitement for new, original compositions being created in Dolby Atmos from the ground up. This interview is part of our new series, "Reimagining the Classics." “One of the things about a technology like Dolby Atmos is it gives producers, mixers, engineers and artists a new way to express, creatively. A lot of the work I do is in mixing. And for me, rather than trying to reinvent ways to cram bigger and bigger sessions into two speakers, I now have a lot more real estate to work with. And that's gratifying. And it gives me a lot of new creative energy.” —Richard Chycki, Audio Engineer and Mixer You can listen to these and many other classic and contemporary albums in Dolby Atmos, on enabled streaming services. You can learn more about Richard Chycki and his incredible mixing career here . Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start! - Dolby Atmos Music Accelerator: https://www.dolby.com/institute/music-accelerator/ - Dolby Atmos Essentials Course: https://learning.dolby.com/ - Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on our YouTube channel. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 27, 2024

Mix engineer Ryan Ulyate joins us to dive deep into his work with the late, great Tom Petty, including his Dolby Atmos® mixes of Petty's “Highway Companion” solo album, “Wildflowers & All The Rest” Deluxe Edition, “Tom Petty & The Heartbreakers Greatest Hits,” and the iconic “Live at the Fillmore 1997.” Ryan has been a recording engineer and producer for over 40 years, with credits on over 120 albums, and has been at the forefront of immersive audio for over 20. In this conversation with guest host Ben Givarz, Ryan shares his journey of sifting through hours of multi-track tapes to create those incredible new immersive mixes, as well as his theories, best practices, and the creative process behind bringing a fully immersive experience to life in Dolby Atmos. This interview is part of our new series, "Reimagining the Classics." “What I realized about Dolby Atmos was that it's not something you do to overwhelm people. It's just something that allows you to put [the listener] in the space of where the music was being made… You can create more drama and get people really inside the music and create these little moments. I think that I've always looked at music visually. I just always see a picture when I'm mixing. And this just broadens the scope so much more. And it gives you such an emotional connection when it works. And that's all that the musicians that I've respected, and I've worked with, ever wanted. Just to find a great way - the best way - for people to connect with their music.” —Ryan Ulyate, Record Producer and Mix Engineer You can listen to these and many other classic and contemporary albums in Dolby Atmos, on enabled streaming services. Be sure to also check out Ryan Ulyate’s Grammy Award®-nominated album “Act 3,” in Dolby Atmos: - Apple Music - Amazon Music - TIDAL - Immersive Audio Album You can learn more about Ryan and his incredible mix studio here . Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start! - Dolby Atmos Music Accelerator: https://www.dolby.com/institute/music-accelerator/ - Dolby Atmos Essentials Course: https://learning.dolby.com/ - Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on our YouTube channel. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 20, 2024

Bob Clearmountain and Rhett Davies, legends in the world of music recording, production, and engineering, join guest host Ben Givarz to delve into the process of transforming Roxy Music's iconic album "Avalon" and Bryan Ferry's platinum record "Boys and Girls" into Dolby Atmos®. They dive deep into the background of the recording and engineering processes they used on these and other legendary Roxy Music records in the 70s and 80s, as well as how they used the original multi-tracks to go from 5.1 mixes in the early 2000s, onto these incredible new Dolby Atmos mixes. This interview is part of our new series, "Reimagining the Classics." “It was a lot more complicated than what either of us had remembered from the original mixes. But still, it's always an adventure and I love a challenge. Especially when the music is great. This music, I still listen to it all the time. It's such a pleasure to listen to and to work with. I mean, we were in heaven.” —Bob Clearmountain, Record Producer and Mix Engineer You can listen to these and many other classic and contemporary albums in Dolby Atmos, on enabled streaming services. Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start! Dolby Atmos Music Accelerator: https://www.dolby.com/institute/music-accelerator/ Dolby Atmos Essentials Course: https://learning.dolby.com/ Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ You can learn more about Bob Clearmountain and his incredible mix studio here. And be on the lookout for his next collaboration with Bryan Ferry, the recently announced: Bryan Ferry "Retrospective: Selected Recordings 1973-2023." Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on our YouTube channel. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 15, 2024

Nominated for 13 Primetime Emmy Awards®, “Ripley,” the new Netflix limited series from creator Steven Zaillian, is a masterclass in filmmaking and the art of sound. So it’s no wonder that two of those nominations are for Outstanding Sound Editing and Sound Mixing. And it’s clear why the sound team was given so much creative freedom to explore the sonic possibilities of the show, as many of those details and nuances were written directly into the scripts, and overseen by a showrunner with a sharp attention to detail. “Without a doubt, Steve Zaillian pays attention to every footstep and every breath and every movement.” —Michael Barry, Re-recording Mixer, “Ripley” Today we are joined by members of the sound team behind the show, including: - Larry Zipf, Co-supervising Sound Editor/Sound Designer and Re-recording Mixer - Michael Feuser, Co-supervising Sound Editor - Michael Barry, Re-recording Mixer - Maurizio Argentieri, Sound Mixer NOTE: This interview contains spoilers! So be sure to check out “Ripley,” now streaming on Netflix in Dolby Vision® and Dolby Atmos® , before listening. Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on our YouTube channel. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 13, 2024

How Hollywood studios work and operate can be mystifying, especially for emerging filmmakers. Luckily, Dolby Institute Fellowship winner Carlos Lopez Estrada returns for another of his excellent Satellite Sessions (this one from December), featuring executives from some of the biggest studios in the entertainment industry, all to help de-mystify how they, and the studios, find, develop, and produce their projects. Joining the discussion are: - Vanessa Morrison, President of Streaming, Walt Disney Studios Motion Picture Production - Mika Pryce, Senior Vice President of Production, Paramount Pictures - Sheila Walcott, Senior Vice President of Creative Development, Warner Bros. Entertainment - Ryan Jones, Senior Vice President, Production Development, Universal Pictures - Tara Duncan, President, Onyx Collective This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment. Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 6, 2024

Pulitzer Prize-winning and Emmy- and Grammy-nominated composer Michael Abels joins our guest host, music journalist Jon Burlingame, to discuss the music of “Star Wars: The Acolyte.” The music for the series was a massive undertaking, made even more formidable by the knowledge that every cue would be compared to the work of legendary composer John Williams. But as a longtime fan of “Star Wars,” Abels jumped into the project eagerly. “I'm one of those people who saw the original trilogy in the theater, so I've grown up with ‘Star Wars’ and with the music of John Williams… I think every fan actually has an assessment of what makes ‘Star Wars’ ‘Star Wars.’ So Leslye [Headland, creator and showrunner] and I talked about that… And we quickly aligned on that the music of ‘Star Wars,’ while it's not necessary that it be old-school or traditional or orchestral, that's something that we both valued. And so it was our intention to have the score be very traditional in places where it called for that and where that would work. And at the same time, there are definite ways in which this series explores new ground. It's all new characters. There's a method to the storytelling that's distinctly Leslye’s own. And so in those places, the score does what it needs to do to bring this new element to the story.” —Michael Abels, Composer, “Star Wars: The Acolyte” Be sure to check out “Star Wars: The Acolyte,” now streaming on Disney+. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 25, 2024

Academy Award®-nominated director (“Raya and the Last Dragon”) — and Dolby Institute Fellowship winner — Carlos López Estrada brings together another exciting panel of film professionals. As one of the producers, Carlos joins fellow Academy Award®-nominated director (“Nai Nai & Wài Pó”) Sean Wang, along with members of the cast and crew, to discuss the herculean task of bringing their independent film “Dìdi (弟弟)” to life. “It’s such a difficult thing to make your first personal film. It’s so impossibly difficult. And I think you really need to know that’s what you want to do. And if, in the depths of the night, you ask yourself, ‘is this what I must do?’ And if the answer comes out to be yes… then I think you adjust everything in your life in accordance with that goal. It’s just something you must do. If you get enough money, you make it bigger. If you don’t get enough money, you still make it. You make it a little more intimate. I think it’s just that necessity… to tell this story… We make narratives, essentially, to save ourselves.” —Joan Chen, Actor, “Dìdi (弟弟)” Today’s panel also includes: - Sean Wang - Director, Writer, Producer - Izaac Wang - Actor (“Chris Wang”) - Joan Chen - Actor (“Chungsing Wang”) - Valerie Bush - Producer - Sam Davis - Director of Photography and Moderator - Carlos López Estrada - Producer “Dìdi (弟弟)” was a recipient of the Dolby Institute Fellowship Award, our grant program for exceptional independent films to finish in Dolby Vision® and Dolby Atmos®. And we couldn’t be more proud of this film, even before it went on to win the U.S. Dramatic Audience Award at the 2024 Sundance Film Festival. Be sure to check out “Dìdi (弟弟)” in theaters this Friday, July 26! Wide release on August 16th. This discussion was another edition of Antigravity Academy’s Satellite Sessions — free monthly conversations with high-level individuals in film and tv, whose objective is to decentralize resources/information and make them available to as many up-and-coming filmmakers as possible — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Learn more about Antigravity Academy: https://antigravityacademy.co/ Learn more about CAPE — The Coalition of Asian Pacifics in Entertainment: https://www.capeusa.org/ Be sure to follow @antigravityacademy and @capeusa for more information on even more upcoming panels. For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks, wherever you get your podcasts . You can also check out the video for this and all our episodes on YouTube. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 16, 2024

Perhaps the top colorist in his field, Stefan Sonnefeld joins us for our 200th episode! If you aren’t aware of Stefan, you’ve almost certainly seen his work . Some of his recent projects include “Top Gun: Maverick,” “The White Lotus,” and “Guardians of the Galaxy, Vol. 3.” His credit list includes some of the biggest franchises in our business, including “Star Wars,” “Star Trek,” “Jurassic Park,” “Pirates of the Caribbean,” “Transformers,” and many more. Just a few of the A-List directors and producers he has worked with are: Tony Scott, Ridley Scott, Michael Mann, Martin Scorsese, Zack Snyder, Tom Cruise, Michael Bay, Bradley Cooper, Steven Zaillian, Spike Jonze, Gore Verbinski, Tim Burton, Matt Reeves, JJ Abrams, George Clooney, Tony Gilroy, and Judd Apatow. So what does it take to be a top colorist in Hollywood, working for some of the biggest personalities in the business? “Well, it's not just the director, it's a lot of people now… So it's a team sport. Everybody plays a part in it. And it's why it's so enjoyable for me. You have to involve a lot of people, but in general, the director, let's say that's the main person. You have to have a good relationship with that person and you have to be able to interpret what they're saying and get that onto the screen. And to do it quite quickly too, because it's a lot of effort and work and money that goes into these projects. And some people talk in technical terms. And some people, like a Michael Mann for instance, talk through emotions. Like, ‘Hey, [the character is] very this [way] in the scene. And he's feeling this. And this is what's going to happen. And this is what just happened. And therefore this is what I want.’ And I'm sort of interpreting that, in a color way, and [I’ll] put it on the screen and he'll be like, ‘great, that's it!’ Or, ‘no, that's not what I meant. It should be this.’” —Stefan Sonnenfeld, Senior Colorist, Founder and CEO, Company 3 Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 9, 2024

Documentary filmmaker Lance Oppenheim, as well as sound supervisor and re-recording mixer Paul Hsu, join us to discuss their new HBO documentary limited-series, “Ren Faire.” The show details the Succession-like power struggle atop the Texas Renaissance Festival, amid its founder’s impending retirement. It was filmed in an appropriately over-the-top theatrical style, and features some incredible sonic world-building, which — in true Lance Oppenheim style — very cleverly mixes real and fantastical elements... often leaving the line between the two quite grey. “I've always been obsessed with Abbas Kiarostami's movies and ‘Close-Up,’ which is very formally different than this, but the idea with that film was embracing reenactments, embracing performance, as a form of truth. And to me, with this project, everything you're seeing on the screen is real. But I wanted to also acknowledge that the moment you drop a camera anywhere, you violate the reality. So it's absurd. All of it's absurd. Documentary filmmaking is absurd. Nonfiction storytelling is absurd. So if we can acknowledge that, can we push past it and find something new?” —Lance Oppenheim, Director, Writer, and Executive Producer, “Ren Faire” This conversation was recorded in-person, in front of a live audience at Dolby’s screening room in mid-town Manhattan, as part of our ongoing collaboration with the Artist Academy and Film at Lincoln Center . Be sure to check out “Ren Faire,” with all three episodes now streaming on Max . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 25, 2024

Academy Award®-nominated director (“Raya and the Last Dragon”) — and Dolby Institute Fellowship winner — Carlos López Estrada brings together another panel of working filmmakers and creatives, this time to discuss the hot button issue of AI in Filmmaking. Joining the discussion are: - Jorge R. Gutierrez (Filmmaker - “The Book of Life,” “Maya and the Three”) - Isa Mazzei (Filmmaker - “Cam,” “How to Blow Up a Pipeline”) - Paul Trillo (Filmmaker, Visual Artist - “The Hardest Part” music video for Washed Out) - Dave A. Liu (Producer/Financier - “Dìdi (弟弟),” “Sasquatch Sunset”) - Dave Clark (Filmmaker, Futurist, Educator) - Joe Penna (Filmmaker - “Stowaway”) “I see all of it as inevitable. And lot of things that are being put out there are frankly, I find, just not that provocative or interesting. And I think AI is being used in a very lazy way, which is totally fine. But, if you have the discipline and if you have the experience, you can take that experience use this tool as a way… to discover these ideas that you probably wouldn’t have made otherwise.” —Paul Trillo, Filmmaker and Director of “The Hardest Part” music video Be sure to check out Paul Trillo’s controversial Sora-generated music video for Washed Out, “The Hardest Part.” This is another amazing conversation which is part of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment. Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 13, 2024

Andrew Garfield, Cynthia Erivo, Andrew Scott, and Tom Hardy are just a few of the celebrity voice actors in the new Audible Original adaptation of “George Orwell’s 1984.” But this adaptation is unique in that it is audio-only — not unlike a radio play. In doing so, writer Joe White had to translate the novel, which was written from a third-person perspective, and put the audience completely into Winston’s POV. And the creative team needed to rely purely on audio to do all the world-building, without the advantages of visuals or an omniscient narrator. But, as it turns out, the experience came quite naturally for director Destiny Ekaragha. “It wasn't as different as I thought it was going to be, actually… It is pure directing, in a way. Because when you're directing on set, you have to consider everything. The color of the curtains, the clouds, and the sky. Everything. Which is great and amazing. But here, it was just pure, one-on-one with the actor, which is my favorite part of my job. Directing actors. So I was like, wait, this is nice. I really like this. I'm not thinking about anything else. I really love that.” —Destiny Ekaragha, Director, “George Orwell’s 1984” You can experience “George Orwell’s 1984” on Audible in Dolby Atmos® , which fully immerses the listener into this chilling, dystopian world. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 30, 2024

Blockbuster film composer Tom Holkenborg — aka Junkie XL — returns to George Miller’s post-apocalyptic dystopian world with his latest installment, “Furiosa: A Mad Max Saga.” Regular guest host Jon Burlingame joins the podcast to discuss Holkenborg’s hands-on approach to crafting the music for this film, which included an unusual addition to his typical job of composer. “To find the right language for this film from a first-person perspective… I was able to be one of the re-recording mixers on this film, being responsible to mix the final results of the film that now people will hear in the theater, alongside [re-recording mixer] Rob Mackenzie. I don't know a film that has been mixed by a composer… at least in the years that I've been working in the film industry. To be able to take this on with George [Miller] and with Rob Mackenzie was just an amazing eight-week experience, to really get into the complete details. It's like, ‘how do you want the music to sound? How is it going to be spaced in an incredible Dolby Atmos theater? And how are you using all the speakers? How much do you push the music? And how do you create perfect handoffs with the sound design, working in conjunction together?’ It was such a fascinating experience.” —Tom Holkenborg, Composer and Re-recording Mixer, “Furiosa: A Mad Max Saga” Be sure to check out “Furiosa: A Mad Max Saga,” now playing in Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 28, 2024

One of the reasons behind the immense popularity of this hit multiplayer roleplaying game is its incredible soundtrack. Today, we are joined by the Audio Director of Larian Studios — the makers of “Baldur’s Gate 3” — Stefan Randelshofer, along with our guest host, Dolby’s Senior Game Developer Relations Manager, Alistair Hirst, in a live discussion from this year’s Game Developers Conference, to discuss what went into creating the rich, sonic atmosphere of the video game. “There is a complete architecture for 3D audio that allows you to listen to 3D audio objects. You can make that work automatically and you can facilitate those 3D audio objects and that gives you so many chances to be more immersed in what you're doing. In a world like Baldur’s Gate, there's so much stuff going on. In the city, when people talk around you. You have a cool combat — if you have one of the spells fly by. So it really gives you the perspective of being there. Therefore, that was the reason for me to go into this Dolby setup” —Stefan Randelshofer, Audio Director, “Baldur’s Gate 3” Be sure to check out “Baldur’s Gate 3” , available on PC, Steam, and consoles. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 21, 2024

Showrunners D.B. Weiss and David Benioff — co-creators of “Game of Thrones” — and Alexander Woo (“True Blood”) join us to talk about their epic new science fiction series: “3 Body Problem” on Netflix. Rounding out the discussion are: Director of Photography Jonathan Freeman Sound Designer Paula Fairfield Supervising Sound Editor Tim Kimmel Editor Michael Ruscio The show is based on a series of bestselling books by Liu Cixin — which, famously, have been described as “unadaptable” to film & TV, due to the complexities of particle physics, which are at the heart of the premise of the story. “We're not physicists. So we needed to — first and foremost — put it in language that we understood. And luckily, we had a good amount of help doing this. Both the books themselves are written for people who are not scientists, and we had Matt Kenzie, our physics advisor, and Bobak Ferdowsi, our JPL space and rocketry advisor, who helped us translate. We listened to them answer our questions. We listened to them answer the cast’s questions. And the way they explain things to people like us gave us a template for the way we could explain things to the people watching. And one thing you do have is you have imagery which can really — even if you don't entirely understand all the explanation and scientific logic behind what you're seeing — give you a flavor for what it means and how it feeds into the story that you're seeing.” —D.B. Weiss, Co-Showrunner, Executive Producer, and Writer, “3 Body Problem” Be sure to check out “3 Body Problem,” in Dolby Atmos and Dolby Vision, on Netflix. Please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 14, 2024

The collaboration between director and cinematographer is arguably the most important dynamic on any film shoot. Here to discuss that are Director Kobi Libii and Director of Photography Doug Emmett, with their satirical comedy, “The American Society of Magical Negroes.” “To me, the best versions of most collaborative things are the things you get to and you're like, ‘wait, was that your idea or was that my idea? I can't remember.’ And there's a million like this… where I'm like, ‘oh, I really thought you pitched that to me.’ And he's like, ‘no, no, I thought you pitched that to me!’ Because it's not my idea or Doug's idea. Or my process or my vision or Doug's vision. It's a thing that gets made in the space between us, that is of the story, and of the characters, and of what this thing that we're building between us is.” —Kobi Libii, Director and Writer, “The American Society of Magical Negroes” This conversation was a live webinar as part of the Dolby Institute’s partnership with Sundance Collab, the digital platform from the Sundance Institute designed for filmmakers, with exclusive webinars, curated resources, and free educational videos. “The American Society of Magical Negroes” was a winner of the Dolby Institute Fellowship , which grants independent films with the funds to finish in Dolby Vision and Dolby Atmos, and we were very proud to finally watch the completed film when it premiered at the 2024 Sundance Film Festival before it was released in theaters by Focus Features. Be sure to check out the film, now available to rent in Dolby Vision and Dolby Atmos on video streaming services . Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 30, 2024

This week we discuss the sound, music, and cinematography of “Masters of the Air,” the epic WWII limited series from Apple TV+. With so many films and shows about World War II over the past several decades, one of the biggest challenges of the series was keeping things fresh. So the creative teams took some ingenious approaches to give every episode and action sequence a unique look, sound, and feel. “Because there's so much time spent in the air with these planes, and so many different planes, we really wanted to sell the geography of each location within each plane and also each and every different plane. So one of the ways that we did that was that Mike [Minkler] and I had the different sequences cut by different people, with a fresh take. Or I did this particular sequence, and then I would hand it off to another editor. Or they would do that, and then pass it to me. And so we had a lot of interplaying around with each other's material, which I think keeps it really fresh, whilst not just copying and pasting material. When you have this much time in the air, you really need to keep the listener involved and their ear kind of excited at all times.” —Jack Whittaker, Supervising Sound Editor, “Masters of the Air” Joining our conversation: - Supervising Sound Editor Jack Whittaker - Re-recording Mixer Duncan McRae - Re-recording Mixer Michael Minkler - Composer Blake Neeley - Cinematographer Jac Fitzgerald Be sure to check out “Masters of the Air” on Apple TV+ . Please subscribe to Dolby Creator Talks, wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 20, 2024

Recorded live at the 2024 Sundance Film Festival, Academy Award®-nominated director (“Raya and the Last Dragon”) — and Dolby Institute Fellowship winner — Carlos López Estrada brings together another all-star panel of Hollywood talent, this time posing the question: Is “No Budget Filmmaking” even possible in this day and age? “There's just so much pressure on a film and on a filmmaker that has nothing to do with the film being good, or them arriving at their artistic voice. I've worked on zero-dollar budgets, I've worked recently on $150 million budgets. And the problems on both ends of the spectrum are exactly the same. Your energy and your attention goes to so many places that have nothing to do with the actual movie, have nothing to do with the art, because of the capitalistic requirements of us, as artists. And if we really care about art and we really care about cinema… We have to change the way we talk about cinema… We want to advance the medium and we want to have a discourse around film that is not just, ‘did you like it? Did you hate it? Did it make money?’” —Justin Simien, Film & Television Producer, Writer, and Director Today’s panel includes independent filmmakers: - Bao Nguyen (The Greatest Night in Pop, Be Water) - Rishi Rajani (The Chi, Being Mary Tyler Moore, A Thousand and One) - Justin Simien (Dear White People, Bad Hair, Hollywood Black) Once again, this discussion was part of Antigravity Academy’s Satellite Sessions — free monthly conversations with high-level individuals in film and tv, whose objective is to decentralize resources/information and make them available to as many up-and-coming filmmakers as possible — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Many thanks to the co-presenter of this panel, MACRO: “a multiplatform media company representing the voice and perspectives of Black people and persons of color.” Learn more about MACRO: https://www.staymacro.com/ Learn more about Antigravity Academy: https://antigravityacademy.co/ Learn more about CAPE — The Coalition of Asian Pacifics in Entertainment: https://www.capeusa.org/ Be sure to follow @antigravityacademy and @capeusa for more information on even more upcoming panels. For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks, wherever you get your podcasts . You can also check out the video for this and all our episodes on YouTube. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . #LoveMoreInDolby

Mar 7, 2024

2-time Academy Award®-winning composer Hans Zimmer joins us on the podcast to discuss his work on “Dune: Part Two,” after winning an Oscar for his score to the first installment of the sci-fi franchise, directed by Denis Villeneuve. And like Denis, Hans had been dreaming about working on these films since he was a boy. And he also knew he wanted to take them in a less traditional direction, sonically: “These were the things which probably had been on my mind ever since I read the book. It's just… I never had the opportunity to try them. I could never understand why, in a science fiction movie — I loved them all — but why we would hear a sort of a European orchestral sound. Why the strings? Why the French horns? Everything else looked futuristic. Everything else was different. Except the music still stuck to the rules of the romantic period. I'm not criticizing it. There's nothing I love more than ‘Alien’ or ‘Star Wars.’ They're phenomenal things. But I saw my duty very much as going beyond that.” —Hans Zimmer, Composer, “Dune: Part Two” Be sure to check out “Dune: Part Two,” now in theaters, in Dolby Vision® and Dolby Atmos®, where available . Don’t miss our previous episode this week, with “Dune” cinematographer Greig Fraser, available in our podcast feed. You can subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 5, 2024

Academy Award®-winning Director of Photography Greig Fraser, ACS, ASC, returns to the podcast to discuss his work on “Dune: Part Two.” The film is a stunning achievement, from both the technical and artistic standpoints, which benefitted greatly from being a continuation of his work from part one: “Whenever you do a movie, you've got to solve a series of problems... And a lot of the technical stuff had been solved for us in advance, because we'd done part one. So this allowed us the opportunity to dream a little bit. And I wouldn't say, ‘dream bigger.’ But it allowed us to dream with more opportunity… We felt empowered that we were doing the right thing. At least, people were appreciating the job that we had done. And instead of having that paralyze us... We were able to make bold decisions and bold choices. Like the infrared photography on Giedi Prime and the eclipse scene. So we were able to do that a little bit more boldly.“ —Greig Fraser, ACS, ASC, Director of Photography, “Dune: Part Two” Be sure to check out “Dune: Part Two,” now in theaters, in Dolby Vision® and Dolby Atmos®, where available . Don’t miss our upcoming episode with “Dune” composer Hans Zimmer, by subscribing to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Previous podcast episodes with Greig Fraser: 118 - Best Cinematography Nominees: Academy Awards 2022 YouTube - https://youtu.be/9frtE4gEoy8 Apple Podcasts - https://podcasts.apple.com/gb/podcast/118-best-cinematography-nominees-academy-awards-2022/id1549901182?i=1000554057034 Spotify - https://open.spotify.com/episode/6OqK3Gl6rZcmfA6heBRYZa 117 - The Cinematography of The Batman YouTube - https://youtu.be/S2GkwC6neiU Apple Podcasts - https://podcasts.apple.com/si/podcast/117-the-cinematography-of-the-batman/id1549901182?i=1000553525163 Spotify - https://open.spotify.com/episode/5J1z9srezZiiAEAHln0GCp Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 25, 2024

Table of Contents: 01:28 - El Conde - Edward Lachman, ASC 12:53 - Killers of the Flower Moon - Rodrigo Prieto, ASC, AMC 24:12 - Oppenheimer - Hoyte Van Hoytema, ASC, FSF, NSC 33:29 - Poor Things - Robbie Ryan, BSC, ISC Welcome to our continuing coverage of this year's Academy Awards®. We have compiled interviews from the nominees in the Best Cinematography category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch (and listen) for as you get to this category on your ballot! NOTE: As always, all nominees are invited to join our conversations. Unfortunately, due to scheduling, Matthew Libatique (Maestro) was not able to join us. FULL EPISODES: El Conde - Edward Lachman, ASC (episode 183) - YouTube - https://youtu.be/qPGWnTpbLos - Spotify - https://open.spotify.com/episode/57upYs823lwPV73VEHz0Cv - Apple Podcasts - https://podcasts.apple.com/us/podcast/183-the-cinematography-of-el-conde-with-dp-edward-lachman/id1549901182?i=1000645550716 Killers of the Flower Moon - Rodrigo Prieto, ASC, AMC (episode 181) - YouTube - https://youtu.be/sgmgucJET3o - Spotify - https://open.spotify.com/episode/2Kc8kJeA9NiTugkR5saAw5 - Apple Podcasts - https://podcasts.apple.com/us/podcast/181-the-cinematography-of-killers-of-the-flower/id1549901182?i=1000645277847 Oppenheimer - Hoyte Van Hoytema, ASC, FSF, NSC (episode 179) - YouTube - https://youtu.be/6RFAfB5RCT0 - Spotify - https://open.spotify.com/episode/2Di5azunCq4ZoBsA6ttdo4 - Apple Podcasts - https://podcasts.apple.com/us/podcast/179-the-cinematography-of-oppenheimer-with-dp/id1549901182?i=1000644731650 Poor Things - Robbie Ryan, BSC, ISC (episode 182) - YouTube - https://youtu.be/Sy38cINMetA - Spotify - https://open.spotify.com/episode/6Aoz7KynItLfBspCjjhgBK - Apple Podcasts - https://podcasts.apple.com/us/podcast/182-the-cinematography-of-poor-things-with-dp-robbie-ryan/id1549901182?i=1000645419205 If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 24, 2024

Table of Contents: 01:30 - The Creator 12:26 - Maestro 23:13 - Mission: Impossible - Dead Reckoning Part One 33:55 - Oppenheimer 44:36 - The Zone of Interest Welcome to our continuing coverage of this year's Academy Awards®. We have compiled interviews from the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch (and listen) for as you get to this category on your ballot! FULL EPISODES: The Creator (episode 165) - YouTube - https://youtu.be/JUPgZbDdTLw - Spotify - https://open.spotify.com/episode/36J65DI2AfqFKu6jzxPDZu - Apple Podcasts - https://podcasts.apple.com/ru/podcast/165-the-sound-of-the-creator-with-director-gareth-edwards/id1549901182?i=1000630007062 Maestro (episode 184) - YouTube - https://youtu.be/vx9KXRYkU84 - Spotify - https://open.spotify.com/episode/1MM7vRYhFFi6kcUDyuF0Cr - Apple Podcasts - https://podcasts.apple.com/us/podcast/184-the-oscar-nominated-sound-team-behind-bradley/id1549901182?i=1000645837427 Mission: Impossible - Dead Reckoning Part One (episode 155) - YouTube - https://youtu.be/SJJjnIv5VcA - Spotify - https://open.spotify.com/episode/1TIbSDJ2CHCIyOBnJsKAP3 - Apple Podcasts - https://podcasts.apple.com/ro/podcast/155-the-sound-of-mission-impossible-dead-reckoning-part-one/id1549901182?i=1000621729514 Oppenheimer (episode 180) - YouTube - https://youtu.be/GJGxVtFX2bg - Spotify - https://open.spotify.com/episode/6DLn4JKf2lfMuyjJ4zQq9y - Apple Podcasts - https://podcasts.apple.com/us/podcast/180-the-oscar-nominated-sound-team-behind-oppenheimer/id1549901182?i=1000645197114 The Zone of Interest (episode 173) - YouTube - https://youtu.be/R_TZTCQ53ss - Spotify - https://open.spotify.com/episode/2D9L5xwea1NrfiaABWuRx5 - Apple Podcasts - https://podcasts.apple.com/us/podcast/173-director-jonathan-glazer-and-the-sound/id1549901182?i=1000638761975 If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 23, 2024

Table of Contents: 01:55 - American Fiction - Laura Karpman 13:45 - Oppenheimer - Ludwig Göransson 25:48 - Poor Things - Jerskin Fendrix Welcome to our continuing coverage of this year's Academy Awards®. We have compiled interviews from the nominees in the Best Original Score category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch (and listen) for as you get to this category on your ballot! NOTE: As always, all nominees are invited to join our conversations. Unfortunately, due to scheduling, John Williams (Indiana Jones and the Dial of Destiny) was not able to join us. And as you may know, Robbie Robertson (Killers of the Flower Moon) sadly passed away this past summer at the age of 80. FULL EPISODES: American Fiction - Laura Karpman (episode 178) - YouTube - https://youtu.be/9SKt-6iUViw - Spotify - https://open.spotify.com/episode/5jbQRQvmLBvbxQ6EjShrQx - Apple Podcasts - https://podcasts.apple.com/us/podcast/178-oscar-nominee-laura-karpman-on-the-music-of/id1549901182?i=1000644320575 Oppenheimer - Ludwig Göransson (episode 156) - YouTube - https://youtu.be/qZCsZCyHFRM - Spotify - https://open.spotify.com/episode/19gsiyueEWeBPKqPtBdgLt - Apple Podcasts - https://podcasts.apple.com/ie/podcast/156-the-music-of-oppenheimer/id1549901182?i=1000622416209 Poor Things - Jerskin Fendrix (episode 171) - YouTube - https://youtu.be/Gf0r-Xzr35w - Spotify - https://open.spotify.com/episode/1D7MdFq51RIF0pkTC98miy - Apple Podcasts - https://podcasts.apple.com/sn/podcast/171-the-music-of-poor-things/id1549901182?i=1000638278317 If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 20, 2024

The Academy Award®-nominated VFX team joins our returning guest, director Gareth Edwards, to discuss how they created such a visually stunning, effects-heavy science-fiction film with a comparatively minuscule budget. Rather than utilizing extensive previz, green screen studios, and fully-rendered CGI environments, “The Creator” was filmed on-location in Asia, documentary-style, with a very small crew, completely upending the usual methods of shooting for VFX: “You do concept art. That's typically one of the first things that happens — storyboards, concept art. And then you spend the rest of the life of the film chasing that artwork. They immediately say, ‘well, this is science fiction. It doesn't exist. So we'll build all this. And we have to build it in a studio…’ And you just get trapped immediately in the straight jacket of every big film ever. And everything's all green screen. And it was like, ‘Forget that. We'll have concept art. But forget the specifics of it. Just trust that it'll look as good as this. But it won't be exactly this. We'll go around the world for every scene. We will find a location that's the best location in the world for that scene. We'll shoot it there. And then we'll design it in post.’” —Gareth Edwards, Director, Producer, Co-writer, “The Creator” Joining Gareth: - Director of Photography, Oren Soffer. - Jay Cooper, Visual Effects Supervisor: Industrial Light & Magic. - Andrew Roberts, Visual Effects On-Set Supervisor: Industrial Light & Magic. Be sure to check out “The Creator,” in Dolby Vision® and Dolby Atmos® (where available), ahead of the Academy Awards, live from the Dolby Theatre® on March 10th! For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 19, 2024

Continuing our coverage of the 2024 Academy Awards®, we have another all-star team of sound artists whose work on “Maestro” is nominated in the Best Sound category. Today’s panel includes: - Richard King, Sound Designer & Supervising Sound Editor. - Tom Ozanich, Re-recording Mixer. - Dean A. Zupancic, Re-recording Mixer. - Steven Morrow, Production Sound Mixer. “Maestro” is a highly stylized yet intimate film about Leonard Bernstein: his fraught marriage, his affairs, his family, and - of course - his storied career. This gave director Bradley Cooper an amazing opportunity to conduct extensive recreations of some of the composer’s famous concerts, all recorded live on set — including that unforgettable concert at Ely Cathedral: “We shot for the first day and, in Bradley's words, he was saying he wasn't really feeling it. He was just nervous about the whole thing. Because it's decades of building up to this moment, in front of the best orchestra in the world, and you're pretending to be the conductor. And the pressure that you're putting on yourself to be perfect and you're just not hitting it. And so he came in the next day and said, ‘let me do it one more time, and let's just do this one shot where the camera goes around… Our film is really just this big wide shot. Let's shoot this shot with a crane. Come all the way around, come back around, by the end of the song, be over Felicia's shoulder, and that's it.’ We shot that on the last day, the last take. And that was it. I mean, that was done. As soon as that take was over, everybody knew we had it.” —Steven Morrow, Sound Mixer, “Maestro” Be sure to check out “Maestro,” now streaming on Netflix in Dolby Vision® and Dolby Atmos® , ahead of the Academy Awards, live from the Dolby Theatre® on March 10th! For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 16, 2024

Legendary cinematographer Edward Lachman, ASC, joins us to discuss his Academy Award®-nominated cinematography for “El Conde,” Chilean filmmaker Pablo Larraín’s satirical horror-comedy which reimagines Augusto Pinochet as a 250-year old vampire. The film features stunning black & white photography, which required the invention of a new kind of camera sensor in order to capture the unique look and feel of the film. Edward discusses that, his use of vintage glass, and the advantages of having his director as camera operator: “He's excellent. He's always been around the camera, he studied still photography at one time, and he's very good with wheels. They always say the first audience is the operator — and that's why I like to operate. But there was so much I had to do with the language [barrier]. The key grip, Mumford — who's a wonderful key grip — didn't speak English. So [Pablo] had the direct communication to the grip about moves and the crane. So it made sense that he operate. And then that gave me the freedom to do what I could do with the electrical [department].” —Edward Lachman, ASC, Director of Photography, “El Conde” “El Conde” is now streaming on Netflix, in Dolby Vision® and Dolby Atmos® . Be sure to check it out ahead of the Academy Awards, live from the Dolby Theatre® on March 10th! For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 15, 2024

Our coverage of the 2024 Oscars continues in this episode with our guest, Robbie Ryan, BSC, ISC. Robbie is a two-time Academy Award® nominee for Cinematography. In today’s episode, he discusses his second collaboration with director Yorgos Lanthimos on the film "Poor Things," following their acclaimed work together on "The Favourite," which earned Robbie his first nomination for Best Cinematography. This year, "Poor Things" boasts 11 Academy Award nominations, including Best Director for Lanthimos and Best Picture. In this wide-ranging conversation, Robbie explains how he crafted the film’s unique, almost dreamlike look, which was mostly captured in-camera, and on film, without post-production effects: “[Yorgos] wanted to have a kind of porthole, vignetted, wide angle [aesthetic]… And I'd kind of done a bit of photography lately where there's a lot of lenses [that] don't fit on the large format sensor, so you get this vignette. So I said, ‘well, hang on — if we use a 16 mil lens on a 35 mil negative, that might happen.’ And it worked out really perfect. We had this 4mm lens for 16 mil, that when you put it on 35 mil, just had that perfect circle… You get these aberrations around the very edges of it and it has this organic quality to it, which was very sweet… None of that was post. That was all real.“ —Robbie Ryan, BSC, ISC, Director of Photography, “Poor Things” Be sure to check out “Poor Things” ahead of the Academy Awards, live from the Dolby Theatre® on March 10th! For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 14, 2024

With our continuing Oscars coverage, today we are joined by Academy Award®-nominated cinematographer Rodrigo Prieto, ASC, AMC. He discusses how he got his start in the film business, working with legendary director Martin Scorsese, the challenges of shooting “Killers of the Flower Moon,” as well as how his research into Osage traditions and rituals became directly woven into his photography for the film. “A lot of it I remember was based on the sun and the sun position. And even the rituals. For example, a burial happens when the sun is at the zenith. So okay, that's usually a time of day you don't want to shoot as a cinematographer. You want to avoid it. But I thought it was important to respect that. And so we decided to have the sun in frame in those moments. And that's why precisely there's a scene of Mollie's mother's burial and the camera's looking straight up at the sky. These are shots that aren't meant to be cool. We're honoring, hopefully, the way they themselves honor the sun.” —Rodrigo Prieto, ASC, AMC, Director of Photography, “Killers of the Flower Moon” Be sure to check out “Killers of the Flower Moon” ahead of the Academy Awards, live from the Dolby Theatre® on March 10th! Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 13, 2024

We have an all-star team of sound artists whose work on “Oppenheimer” is nominated for a 2024 Academy Award®. They are certainly no strangers to that award show, as they already have NINE Oscars between them! Today’s panel includes: - Richard King - Sound Designer and Supervising Sound Editor - Gary A. Rizzo - Re-recording Mixer - Kevin O’Connell - Re-recording Mixer - Willie D. Burton - Production Sound Mixer We discussed how they approached getting inside the head of the brilliant but troubled “Father of the Atomic Bomb,” J. Robert Oppenheimer, as well as working with the brilliant, and very particular director Christopher Nolan, who loves working with IMAX cameras so much, he used some unconventional methods to record the dialogue. “The IMAX camera is very noisy. Usually [Nolan] would do the wide shots with the IMAX camera and then he'll use the 70mm for dialogue. But there's times that we have short scenes — like three, four, five lines. But what we have to do is — he will say, ‘cut, print,’ and the actors will re-act that scene, just like they did it on camera. Re-doing it, wild. The same pacing. Oh yeah… We try to get everything we can for post, knowing that he wants to use all his original track on production. Now, whether he totally used it all? [But] I think he used most of it.” —Willie D. Burton, Production Sound Mixer, “Oppenheimer” Be sure to check out “Oppenheimer” ahead of the Academy Awards, live from the Dolby Theatre® on March 10th! For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 9, 2024

As part of our continuing Oscars coverage, we are joined by Academy Award®-nominated cinematographer Hoyte Van Hoytema, ASC, FSF, NSC. He discusses how he got his start in the film business, working with Christopher Nolan, shooting “Oppenheimer” on film, how they did all those in-camera practical effects, and his fears about creating a dynamically visual film… with so much dialogue. “I was scared sh**less in the beginning, because you are very much out of your comfort zone. In the old days - when in doubt - throw in a wide shot, throw in a vista, and give the people breathing space, et cetera. But this was full-on, very intense, on the human face all the time. So there was a challenge. But also, I think, a very fun one. It definitely brings you to a state of mind where you have to really focus on what is being said and on the progression of the story.” —Hoyte Van Hoytema, ASC, FSF, NSC, Director of Photography, “Oppenheimer” Be sure to check out “Oppenheimer” ahead of the Academy Awards, live from the Dolby Theatre® on March 10th! For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 6, 2024

Five-time Emmy Award-winning composer Laura Karpman joins guest host Jon Burlingame to discuss her first Academy Award® nomination for the music of “American Fiction.” Karpman took a rather unique approach to composing this “jazzy” score, by thinking of the actors’ voices as musical instruments themselves. “There's a lot of dialogue. And the way the score is constructed is using the actors — particularly Erika Alexander, who plays Coraline, his love interest, and then Jeffrey [Wright], who plays Monk — using their voices as musical instruments. Jeffrey has a great tenor sax vibe, and Coraline has got this sexy alto. And so when they speak, it's under a rhythm section. And then the saxophones and Elena Pinderhughes on flute will come in to kind of move around that. But I did think of the actors as part of the jazz combo, with a rhythm section backing them up.” —Laura Karpman, Composer, “American Fiction” Be sure to check out “American Fiction” ahead of the Academy Awards, live from the Dolby Theatre® on March 10th! For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 22, 2024

Recorded live just a few days ago at the 2024 Sundance Film Festival, Academy Award®-nominated director (“Raya and the Last Dragon”) — and Dolby Institute Fellowship winner — Carlos López Estrada brings together five filmmakers, each with debut feature films in the US Dramatic Competition this year. “I have experienced what all five or panelists are experiencing right now. It's this insane, adrenaline rush of playing your first movie for groups of audiences who love film. And it's the most magical thing in the world. So we're so happy that all five people who you're about to meet agreed to come here to share a little bit about how they ended up here. And I hope you got to see some of these films because I got a chance to see all five and they're all truly magical.” —Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime” Today’s panel includes directors: - Alessandra Lacorazza (“In the Summers”) - Laura Chinn (“Suncoast”) - Titus Kaphar (“Exhibiting Forgiveness”) - India Donaldson (“Good One”) - Sean Wang (“Dìdi”) — 2024 Academy Award-nominee for Best Documentary Short Film (“Nǎi Nai and Wài Pó”) and Winner of the Dolby Institute Fellowship (“Dìdi”) Once again, this discussion was part of Antigravity Academy’s Satellite Sessions — free monthly conversations with high-level individuals in film and tv, whose objective is to decentralize resources/information and make them available to as many up-and-coming filmmakers as possible — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 13, 2024

Academy Award-nominated composer Daniel Pemberton (“The Trial of the Chicago 7”) joins our guest host, music journalist Jon Burlingame, to discuss his score for the latest animated Spider-Man film. If you’ve seen it, then you already know it features incredible, cutting-edge animation. But it turns out Daniel’s approach to the score was equally “experimental.” “As soon as I finished ‘Into the Spider-Verse,’ I was thinking about ‘Across [the Spider-Verse]’ because… as a composer, you don't often get a chance to have a kind of playground where you really can be very experimental and really push at the edges of what film music can be. And obviously, you want to try and do that. But not every movie will support that kind of approach. And with Spider-Verse, it really did. So I was very aware — if there was a sequel — of trying to build on what we created on the first one. Rather than say, ‘well we did this thing that was successful, let's just more of the same.’ It's more like, ‘let's see how much further we can push it.’” — Daniel Pemberton, Composer, “Spider-Man: Across the Spider-Verse” Be sure to check out “Spider-Man: Across the Spider-Verse,” in Dolby Vision® and Dolby Atmos®, now streaming on Netflix . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 9, 2024

Director Carlos López Estrada — Academy Award® nominee for “Raya and the Last Dragon” and winner of the Dolby Institute Fellowship — returns to The Dolby Institute Podcast for another panel discussion, this time with members of Sundance. More than just a film festival, The Sundance Institute offers a myriad of resources for emerging and independent filmmakers, but navigating them all can be overwhelming. So this very special podcast episode is designed to answer this essential question, from Carlos: “What advice can [you offer] for someone who’s just starting to make their own work — whether it’s shorts, documentaries, pilot scripts — and are trying to create from a truthful place, [while] also trying to find their voice, and wanting to be noticed by people like yourselves, knowing that many times resources and time is limited for someone who’s just starting?” —Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime” Today’s panel includes: Ilyse McKimmie - Deputy Director of the Feature Film Program at Sundance Institute Paola Mottura - Film Fund Director at Sundance Institute Jandiz Estrada Cardoso - Director of the Sundance Institute Episodic Program Ana Souza - Manager of the Programming Department and Programmer at Sundance Institute Adam Piron - Director of Sundance Institute's Indigenous Program Once again, this discussion was streamed live as part of Antigravity Academy’s Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 19, 2023

Director Blitz Bazawule joins his composer Kris Bowers to discuss their new adaptation of “The Color Purple.” You may remember the original filmed adaptation of Alice Walker’s Pulitzer Prize-winning novel, directed by Steven Spielberg, from 1985. This version is actually an adaptation of the hit Broadway show, which won two Tony Awards, including Best Revival of a Musical. Our guest host, music journalist Jon Burlingame, returns to the Dolby Institute Podcast to speak with Kris and Blitz about their collaboration on the film, which began very early in the filmmaking process. “I brought Kris on very early because I really believe in my entire team being on the same page right when we begin. I don't believe in silos as a filmmaker and, ultimately, I fancy myself more of a conductor than anything else. I need my entire symphony to start building some kind of harmony, and I can't wait till the very ending to bring on my composer when so much has already been discussed. So bringing Kris on also helped [him] understand how we were approaching music from a macro perspective, what were the intentions around these choices that then he could then expand into the scoring process. And why Kris? I mean, he's the coolest cat. That's just it.” —Blitz Bazawule, Director, “The Color Purple” (2023) Be sure to check out The Color Purple now in theaters, in Dolby Vision® and Dolby Atmos®, where available . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 16, 2023

Academy Award®-nominated director Jonathan Glazer joins us to discuss his latest film, 2024 Best Picture nominee “The Zone of Interest,” a searing drama about life just outside of the infamous Auschwitz concentration camp, which the director chose to have the audience hear, rather than see. “The atrocities that are being committed in the camps — and the images that we already know in our minds, from all of the documentaries and books and fiction films and so on… I had absolutely no interest in reenacting any of them… But at the same time, they were out of sight, they needed to never be out of mind. So what I was serving in my script was how those sounds could come across the wall and permeate every frame of the film, bare down on this mundanity that we're witnessing day to day. And it sort of felt like that was the second film we were making. We always talked about there are two films: the one you see and the one you hear. And I think in many ways, the one you hear was the most important one to me.” —Jonathan Glazer, Director, “The Zone of Interest” Joining the discussion is producer James Wilson, as well as Johnnie Burn, the film’s sound designer, supervising sound editor, and re-recording mixer, whose work on this film also received a 2024 Academy Award nomination in the Sound category. This conversation was recorded as a live panel discussion after a screening of the film at the New York Film Festival and was part of our support of the FLC Artist Academy program, where we bring conversations about the art and craft of filmmaking to the next generation of directors: https://www.filmlinc.org/academy-programs/artists-academy/ Be sure to check out “The Zone of Interest,” now in theaters . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 14, 2023

Director J.A. Bayona discusses his latest film — 2024 Academy Award®-nominee for Best International Feature Film (Spain) — “Society of the Snow.” Director of Photography Pedro Luque and Sound Designer Oriol Tarragó also join us to discuss how they crafted this riveting retelling of the infamous 1972 Andes flight disaster, where a team of rugby players from Uraguay had to do the unthinkable to survive. Realism was a big priority for Bayona, so the production was a challenging, sometimes even grueling experience. “That was the moment — first day of shooting — that we realized how hard this was going to be… We had real snow, we have the cold to catch the breath of the actors, but then we got into the [airplane] set. All the seats had crammed against the cockpit and we realized that we needed to fit 29 people inside that space and one camera crew. So there was no way of shooting those scenes. Like, it was not possible! So actually that was the moment that we decided that we had to shoot the film as if it was a documentary.” —J.A. Bayona, Director/Co-writer, “Society of the Snow” Be sure to check out “Society of the Snow” in glorious Dolby Vision® and Dolby Atmos®, where available, as well as on Netflix starting December 22, 2023 . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 12, 2023

Academy Award®-nominated composer Jerskin Fendrix joins us to discuss his first-ever film score — the latest from director Yorgos Lanthimos — “Poor Things.” It was an exciting experimental collaboration for both artists, as this was also the director’s first time working with an original score for one of his films. “We both learned along the way how to make a film score from scratch… The first thing we agreed on is that the music had to be part of the film, exclusively. No external references, no temp scores. We never discussed any other composers or films or anything at all. So I think Yorgos really had this idea that everything sprouts ex nihilo from the genesis of the film and from nowhere else.” —Jerskin Fendrix, Composer, “Poor Things” Our guest host, music journalist Jon Burlingame, returns to the Dolby Institute Podcast to discuss Jerskin’s background, creative process, and what it was like to work with Lanthimos for the composer’s feature film debut, which earned him a 2024 Academy Award nomination. Be sure to check out “Poor Things,” now in theaters . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 5, 2023

Director Carlos López Estrada — Academy Award® nominee for “Raya and the Last Dragon” and winner of the Dolby Institute Fellowship — leads another all-star panel of Hollywood talent to discuss how they broke into the industry as professional cinematographers. And what better way to do that than by discussing their first feature films? “Cinematographers, together with the directors and writers of a film, are also the authors of the story. They are responsible for every image, for every frame, [for] every message that needs to be communicated in order to communicate the story. And we’re very lucky to have, today, six incredible cinematographers talking about the beginning of their journeys and how their early projects helped shape their filmmaking voices.” —Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime” Today’s panel includes Directors of Photography: - Mandy Walker (Elvis, Mulan, Hidden Figures, Australia) - Larry Fong (300, Batman V. Superman, Kong: Skull Island, the pilot of LOST) - Lawrence Sher (Joker, the Hangover trilogy, Garden State) - Oren Soffer (The Creator w/ Greig Fraser) - Sandra Valde-Hansen (The Summer I Turned Pretty, The L Word: Generation Q) - Karina Silva (No Man of God, the upcoming Which Brings Me to You) This discussion was streamed live as part of Antigravity Academy’s new Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 21, 2023

Academy Award®-winning writer and director Emerald Fennell joins us to discuss her latest dark comedy thriller, “Saltburn.” The film features an unflinchingly disturbing story, incredible performances, and an appropriately cutting-edge sound design, which was being experimented with up until the very end of post-production. “For it to be exciting and vital you need to be experimenting up until the end. You need to be pushing and pushing. This is a very Gothic movie in lots of ways. It’s very stylized… But [if you push] too much, it just becomes kind of overwhelming. The thing [about] working with lots of people who are really brilliant is just give everyone the space to try lots of different things. Because sometimes you just don’t know the perfect thing until you hear it or see it… That’s always how you make stuff that is on the edge of something interesting. You have to fall off to know where you can come back and that’s why it’s such a fun, exciting process. And it kind of has to be right until the last second.” —Emerald Fennell, writer/director/producer, “Saltburn” Joining the conversation with Fennell are supervising sound editors Nina Hartstone and Eilam Hoffman, production sound mixer Nina Rice, and re-recording mixers Adam Scrivener and Jasper Thorn. SPOILER ALERT: This conversation discusses many important plot twists, so bear that in mind before listening to this episode. Be sure to check out “Saltburn,” now in theaters . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 7, 2023

Director Carlos López Estrada — Academy Award® nominee for “Raya and the Last Dragon” and winner of the Dolby Institute Fellowship — leads another all-star panel of Hollywood talent to discuss how they’ve navigated the industry as screenwriters, television writers, and showrunners. These talented writers have not only enjoyed enormous success in the industry, but have also brought their own fresh perspectives which have been missing for a long time in Hollywood. Including narratives that have focused on Asian Americans, women, Latin America and Native Americans, to name just a few. “As we all know, writers are the backbone of storytelling. And, of course, the backbone of our industry. And during this pivotal time in our entertainment community, it feels as important as ever to hear from the artists who are the foundation of everything we do... Today we are joined by four powerhouse writers who will share a little bit about their experiences creating film and TV that has truly been game-changing for our industry. They're responsible for giving us singular stories that authentically reflect the world that we live in, as well as helped us envision the world that we want to see.” —Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime” Today’s panel includes writers: - Carolina Paiz (Narcos, Grey’s Anatomy, Orange is The New Black) - Dana Ledoux Miller (The Newsroom, Thai Cave Rescue, Disney’s Moana) - Joanna Calo (Hacks, Beef, Bojack Horseman, The Bear) - Charles Yu (Interior Chinatown, Westworld, American Born Chinese, Marvel’s Legion on FX) This discussion was streamed live as part of Antigravity Academy’s new Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 31, 2023

Our guest host Tom Graham — the Head of Dolby Vision® Content Enablement — returns for the second installment of our ongoing series, “Conversations with Colorists,” where he discusses the nitty gritty of working as a professional colorist, especially for projects that deliver in Dolby Vision®. Joining the discussion are three of the top colorists working in film & television today — Tony D’Amore, Paul Westerbeck, and Frederik Bokkenhauser, all senior colorists at Picture Shop: https://pictureshop.com/ “One thing you have to keep in mind is you still want to help tell the story. If somebody's standing in the kitchen and outside is a window that's really bright, you gotta be careful not to allow that to just blow out and overpower the scene. So it's a lot of shaping. You want to make sure the people aren't focusing on the window or the gardener outside. You’ve got to get the actress, who's standing in the kitchen, speaking. You gotta help to maintain that.” —Paul Westerbeck, Senior Colorist, Picture Shop Learn more about Dolby Vision® for Content Creators here: https://professional.dolby.com/content-creation/dolby-vision-for-content-creators/ Dolby Vision® Training and Certification can be found here: https://prostore.dolby.com/ Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 17, 2023

What exactly are movie producers looking for when searching for new creative voices? Academy Award® nominated Director Carlos López Estrada (“Raya and the Last Dragon”) — and winner of the Dolby Institute Fellowship — returns with another all-star panel to discuss this very topic, with some of the top producers in the field. So if you are an aspiring filmmaker, screenwriter, director, or any of the above early in your career, this episode is filled with real-world advice for navigating the film industry as an emerging creative voice. Joining Carlos are producers: - Christina Oh, Producer, “Minari” - Poppy Hanks, Executive Producer, “Judas and the Black Messiah” - Michael Gottwald, Producer, “Beasts of the Southern Wild” - Andrew Hevia, Producer, “Moonlight” - Janet Yang, President of The Academy of Motion Picture Arts & Sciences / Producer, “The Joy Luck Club” and “Over the Moon.” “I try to see as much stuff as possible, then just reach out to people when something seems just really great. But a lot of it has, of course, been like: You work with one director, that director knows this other person [and] says, ‘you guys, you should talk.’ You then meet that person, you realize you love their work and you want to work with them [too]. Anything that makes your world smaller I think in this industry is super helpful.” —Michael Gottwald, Producer, “Beasts of the Southern Wild” This discussion was streamed live as part of Antigravity Academy’s new Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Follow @antigravityacademy and @capeusa for more information on even more upcoming panels. Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) For more inspiring Satellite Sessions just like this one, be sure you are subscribed to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 3, 2023

Director Gareth Edwards joins us to discuss the 2024 Academy Award®-nominated sound of his visionary new dystopian sci-fi film, "The Creator.” The movie features some incredible work — including a glorious Dolby Atmos® mix — but with some unconventional sound design choices for a science fiction film about artificial intelligence and fully autonomous robots. Joining the director to discuss all this and more are sound designers and supervising sound editors Erik Aadahl and Ethan Van Der Ryn, along with re-recording mixers Tom Ozanich and Dean A. Zupancic. This is another of our in-depth conversations, which we were proud to conduct in person at our Dolby screening room in Hollywood. We were delighted to discuss the filmmaking process and the risky creative choices required to craft such a groundbreaking track. “The whole making of a film is [a] dance. You're on a razor's edge. You go slightly too much this way, it's really obvious and cliched. You go slightly too much this way, it's up its own arse and no one understands it. And you're just trying to do that knife edge the whole time. And the way you get there is not through being a really clever. To be honest, you pick a side to start on and then you go right up to the limit.” —Gareth Edwards, Director / Producer / Co-writer, “The Creator” Be sure to check out The Creator at a Dolby Cinema® to get the full experience in Dolby Vison® and Dolby Atmos® . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Sep 26, 2023

What goes into building a soundtrack for a short film? And collaborating with a sound team when you’re dealing with a short time frame? And an even more limited budget? To help us answer those questions and more, Glenn moderates a panel discussion with some of the filmmakers from this year’s Aspen Shortsfest — which is, without question, one of the best film festivals in the world for short films and short filmmakers: - Madli Lääne, Director of “Dear Passengers” - Nikita Diakur, Director of “Backflip” - Luis Fernando Puente, Director of “I Have No Tears, and I Must Cry” This is a great discussion about the creative process of storytelling. And how that process translates into crafting a compelling soundtrack for a film… regardless of runtime! Sound teams for the short films: “Dear Passengers” Sound Designer - Markus Andreas Composer - Patrick McGinley Foley Artist - Anna-Maria Jams Foley Recordist - Joonas Taimla Additional Sound Effects - Aleksandra Koel “Backflip” Sound Designer - David Kamp https://www.nytimes.com/video/opinion/100000008901281/backflip.html “I Have No Tears, and I Must Cry” Sound Designer - Erik Naumann Composer - Jorge Murcia Teaser: https://vimeo.com/718108679 Many thanks to the faculty and students of Colorado Film School, who filmed and recorded this panel discussion for us: Sound Recordist - Diana Flood Camera Operators - Tim Bulger, Wil Francis, Felicia Hettinga, Lucas Lacy Editor - Quinton Kaine Production Assistants - Skylar McKelvey, Geneva Schafer Instructor, Post Supervisor - Matt Baxter Instructor, Production Supervisor - Aaron Koehler And extra special thanks to Aspen Shortsfest: Susan Wrubel - Executive + Artistic Director Jason Anderson - Shortsfest Program Director Erin McVoy - Operations + Production Director Regna Frank-Jones - Head of Education Allie Wrubel - Program + Marketing Manager Roger Ramos - Program + Education Coordinator https://aspenfilm.org/our-festivals/shortsfest/ Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Sep 19, 2023

“A Haunting in Venice,” the latest cinematic adaptation featuring novelist Agatha Christie’s fictional detective Hercule Poirot, starring and directed by Sir Kenneth Branagh, includes another unforgettable score by multiple award-winning composer Hildur Guðnadóttir. But unlike most of her other groundbreaking work, this score features a more “classical” approach — a creative decision stemming all the way back to Hildur’s childhood! “Having grown up reading Agatha Christie and Nancy Drew and Sherlock Holmes and all these classics, I had a really strong feeling for how I felt like this genre should be approached. And how I felt like it should not be approached. And [its] quite the opposite to most of my work, where I'm quite explorative of sounds and instrumentation and building instruments or building sample worlds or found sounds. I feel like the whodunit should really just be a classical form (laughs) that should not be tampered with.” —Hildur Guðnadóttir, Composer, “A Haunting in Venice” Our guest host, music journalist Jon Burlingame, returns to the Dolby Institute Podcast to speak with Hildur about her work on this film as well as her vast knowledge of music history from this period. Be sure to check out A Haunting in Venice , now in theaters, in Dolby Atmos® where available. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Sep 5, 2023

Director Carlos López Estrada — Academy Award® nominee for “Raya and the Last Dragon” and winner of the Dolby Institute Fellowship — leads an all-star panel of independent filmmakers to discuss perhaps the biggest challenge of any director’s career: “The making of a first feature is really nothing short of a miraculous feat. There’s just so many elements that need to perfectly align at the right time in order for an emerging filmmaker to get a shot at telling their story. And we’re hoping that by having these very earnest conversations about what it took, and what it felt, to make a first feature by these directors, we can shed a little bit of light into a process that is so, so, so mysterious to so many emerging filmmakers.” —Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime” Joining Carlos are filmmakers: Sian Heder (CODA) Reinaldo Marcus Green (King Richard) Nikyatu Jusu (Nanny) Randall Park (Shortcomings) This discussion was streamed live as part of Antigravity Academy’s new Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). For more inspiring Satellite Sessions just like this one, be sure you are subscribed to The Dolby Institute Podcast wherever you get your podcasts . Learn more: Antigravity Academy CAPE (Coalition of Asian Pacifics in Entertainment) You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 29, 2023

Director Neill Blomkamp joins us to discuss his thrilling new racing film and biopic, chronicling GT Academy winner Jann Mardenborough’s rise into professional racing. Joining the conversation are the film’s supervising sound editors, Kami Asgar and Erin Oakley, as well as re-recording mixer — and real-life race car driver — Beau Borders, who brought his personal experience from behind the wheel onto the mixing stage, to give audiences the most authentic experience possible. “Obviously I'm gonna want [the sound] to be realistic. I wanna honor race car drivers. I want car fans to watch the movie and feel like they're not being pandered to. But at the same time, it can't just be totally accurate. It also has to be hyperreal… When I do these car races and I'm all strapped in and the adrenaline's going, I'm convinced that the thing that I'm going through is the most exciting, amazing, wild thing that any human being other than an astronaut has ever experienced… Because that's what happens in your brain.” —Beau Borders, Re-recording Mixer, “Gran Turismo” Be sure to check out Gran Turismo, now playing in theaters . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 22, 2023

SPOILER ALERT: This podcast discusses important plot points from episode three, “The Autopsy.” Executive Producer (and co-showrunner) J. Miles Dale joins us on the podcast to discuss the horror anthology series Guillermo del Toro's Cabinet of Curiosities, which was recently nominated for seven Primetime Emmy Awards. Joining the conversation are nominees: Supervising Sound Editor Nelson Ferreira, MPSE, and Director of Photography Anastas Michos, ASC, GSC. To avoid spoilers, be sure to watch “The Autopsy” before listening to this podcast! But be forewarned, it is extremely dark — both thematically and visually — which was entirely by design: “The genre is squarely within a horror/sci-fi mode. It is about what we don't see in life. That's what makes shooting horror films or thrillers so interesting. That we allow the audience to only see what we want them to see, and tease the rest of it into the blacks [of the image].” —Anastas Michos, ASC, GSC, Director of Photography, Guillermo del Toro's Cabinet of Curiosities Guillermo del Toro's Cabinet of Curiosities is currently streaming on Netflix in Dolby Vision® and Dolby Atmos® . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 15, 2023

Independent filmmaker Sophie Barthes joins us to discuss her breakout Sundance hit — and winner of this year’s Dolby Institute Fellowship Award — The Pod Generation. The film is a hilariously biting near-future sci-fi satire, starring Emilia Clark and Chiwetel Ejiofor as a young couple who turn to a corporate tech giant to help them carry their new baby — literally — to term. “Living in America has triggered this passion for exploring the commodification of everything… The fact that we don't see human beings as an ‘end’ by themself, but as a ‘means.’ A means of consumption. A means of generating more money. I don't know why, but it really interests me. Like how capitalism has reduced human beings to just ‘function,’ instead of ‘being.’” —Sophie Barthes, Writer and Director, “The Pod Generation” The Pod Generation is currently in theaters, in Dolby Vison® and Dolby Atmos®, where available. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 8, 2023

Academy Award winning sound supervisor and re-recording mixer Skip Lievsay returns to the podcast, along with Academy Award winning director Davis Guggenheim, to discuss their incredible new documentary, Still: A Michael J Fox Movie. “I think in a much more traditional documentary, you can polish too much. The sound. You can make it too perfect. And that's sort of what we talk about [with] the off-camera voice. You want to make sure the audience feels like you haven't screwed with the original material.” —Davis Guggenheim, Director and Producer, “Still: A Michael J Fox Movie” Still: A Michael J Fox Movie is now streaming on Apple TV+ in Dolby Vision® and Dolby Atmos® . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 1, 2023

Scottish composer Lorne Balfe joins us to discuss his incredible original score for the latest addition of the Mission: Impossible franchise. Guest host Jon Burlingame returns to delve into Lorne’s process — including some on-the-fly performances during his interview — and why he so badly wanted to record elements of the soundtrack in so many locations from around the world. “You sometimes have these choirs [that] have to sing in different languages. And of course they can do it. But it's just not natural to them. So that was one idea that I had: Wouldn't it be amazing to have the musicians from that city or from that town be part of this soundtrack? The same way that the crew, and the extras, and the actors are from that environment? Let's try to incorporate that world into our world.” —Lorne Balfe, Composer, “Mission: Impossible - Dead Reckoning Part One” Be sure to check out the latest Mission: Impossible at a Dolby Cinema®, so you can enjoy the film in Dolby Vision® and Balfe’s score in stunning Dolby Atmos® . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 25, 2023

Academy Award®-winning composer Ludwig Göransson returns to the Dolby Institute Podcast to discuss his 2024 Academy Award-nominated score for auteur filmmaker Christopher Nolan’s latest film, with guest host Jon Burlingame. They discuss the composer’s process which, on this film, was anything but traditional, including why he composed over three hours of music before principal photography even began. “But then the real job begins when [Christopher Nolan] comes back and he goes into the edit bay and he sits there with [picture editor] Jennifer Lame and they start putting together the movie. And they put together the scenes. And they already put my music in those scenes, from what we’d already written. So when I see the first cut it already has all my music in it.” —Ludwig Göransson, Composer, “Oppenheimer” Be sure to check out Oppenheimer at a Dolby Cinema® so you can enjoy the film and Göransson’s score in stunning Dolby Atmos® . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 20, 2023

Fresh from their Academy Award®-winning work on “Top Gun: Maverick,” supervising sound editor James Mather and re-recording mixer Chris Burdon return to the Dolby Institute Podcast, along with picture editor Eddie Hamilton, to discuss the sound of the latest installment in the action-spy series — 2024 Academy Award-nominee in the Sound category, “Mission: Impossible - Dead Reckoning Part One.” If you haven’t already, be sure to see Mission: Impossible - Dead Reckoning Part One in a Dolby Cinema® : “What Dolby Atmos® allows us to do is make [the sound design] that much more immersive. I have that many more channels that I can be planting sounds in a way that just makes it completely immersive, you won’t hear any other way.” —Christopher McQuarry, Director, “Mission: Impossible - Dead Reckoning Part One” Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 6, 2023

A new, exclusive interview with Phedon Papamichael, the director of photography of the latest (and final?) installment of the Indiana Jones franchise. He and director James Mangold had to contend with a myriad of unique challenges on this film, including matching and updating the classic “Indy look,” filming more chase scenes than you can count, and working with cutting edge VFX to “de-age” Harrison Ford, making the 80-year old action star look the same age he was when he shot Raiders of the Lost Ark! “Initially, when we started testing it before principle photography, I was presented with some concerns and restrictions. Like, ‘if you can match the lighting to existing lighting from other [Indiana Jones] movies, it'll apply easier, it'll be more successful.’ I go, ‘well, that's gonna be tricky. In every sequence I have to see [if] he has a similar sidelight or a top light?’ It turned out that wasn't really a factor. We also didn't realize, the turnaround time ended up being pretty quick. We were getting results back within a few days. We saw that, ‘wow, this is really gonna work!’ And we were all very impressed, including Harrison. He was like, ‘it's bizarre seeing yourself.’” — Phedon Papamichael, Director of Photography, Indiana Jones and The Dial of Destiny Be sure to check out Indiana Jones and The Dial of Destiny , in Dolby Vision® and Dolby Atmos®, where available. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 20, 2023

Director and Co-Writer Peter Sohn and Director of Photography Jean-Claude Kalache join us this week to tell us about the making of Elemental, Pixar Animation Studios’ most ambitious movie to date. We discuss Pixar’s famously demanding story development process and why this film took years just to get to an outline, how this film deals with some much more grown-up themes than the typical Pixar fare, and the unique challenges of animating two lead characters made up entirely of either a glowing, iridescent flame (Ember) or a blob of translucent liquid (Wade). “We had done some [early] experiments with Ember [and] when we turned her fire on for the first time, she looked like a Balrog from Lord of the Rings! She looked terrifying. She was this very realistic demonic fire… And when [Wade] is in the basement, he has a different look. His whole body turns a different color. And then when he is outside in the sunlight, his whole body turned into something else. He was awful! He was so hard. <laughs>” — Peter Sohn, Director and Co-Writer, “Elemental” Be sure to check out Elemental in Dolby Vision® and Dolby Atmos®, now playing in Dolby Cinemas® and theaters near you. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 15, 2023

Former DGA president, and one of the most successful directors working in television, Paris Barclay joins us on the podcast to discuss his remarkable work on episodes six and ten of DAHMER, season one of Ryan Murphy’s series, “Monster: The Jeffrey Dahmer Story.” But it was work we almost didn’t get to see, because he was initially very reluctant to take on the job. “This one was a hard NO. Um, ‘I'm doing a series about Jeffrey Dahmer and I want you to be a part of it’ is not a call that I'm delighted to receive. <laughs> So I said, ‘listen, I'm of an age where I lived through Jeffrey Dahmer and I know what Jeffrey Dahmer did to black and gay men like myself. And I don't think it's worth doing another story that looks at Jeffrey Dahmer and in any way makes him a more credible, emotional, positive figure.’” — Paris Barclay, Director, DAHMER So why did Paris decide to take the gig, and how did he manage to craft such beautiful and heartbreaking stories depicting the impact of one of the most grim serial killers in history? This is just one of two podcast episodes we’ve done on this season of the series, so be sure to also look for our podcast episode with the producers and key members of the crew. Be sure to check out DAHMER in Dolby Vision® and Dolby Atmos® on Netflix . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 13, 2023

Key members of the team behind DAHMER, season one of Ryan Murphy’s hit series “Monster: The Jeffrey Dahmer Story,” join us this week to discuss the challenges of balancing this gripping portrayal of the notorious serial killer, and his impact on the communities he preyed upon, without glorifying or redeeming Jeffrey Dahmer’s horrific acts. “‘Monster’ doesn't just relate to the guy with the knife. It relates to the society in which he was working within, and how he was able to get away with what he was doing for so long,” — Regis Kimble, Producer and Supervising Editor, DAHMER Joining us is Executive Producer and president of Ryan Murphy Productions Alexis Woodall, Re-recording Mixer Laura Wiest, Production Sound Mixer Amanda Beggs, and Producer & Supervising Editor Regis Kimble. This is just one of two podcast episodes we’ve done on this season of the series, so be sure to look for our episode with Paris Barclay, the director of episodes six and ten, which will be released later this week. Be sure to check out DAHMER in Dolby Vision® and Dolby Atmos® on Netflix . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 6, 2023

For our 150th episode of The Dolby Institute Podcast we’re delighted to bring you filmmaking advice for first-time filmmakers… FROM first-time filmmakers. We have gathered a panel of emerging directors, fresh off the premieres of their very first films, to share their insights, triumphs, and challenges in this candid round-table discussion. What hard lessons did they learn? And what would they do differently next time? “As the director, everything that goes wrong is my fault. And you have to take full responsibility. Because you're in charge... It was a hard experience. It was bumpy. But it made it so that, in the future, I am prepared and I know how this system works. I [now] know how the machine works and I can operate in it smoothly.” — Thomas Sawyer, Writer and Director, "Sirens" These insights are from a group of young filmmakers who took part in the “Finish the Script Challenge,” a collaboration between the Dolby Institute and Ghetto Film School. With an open-call submission process and mentorship by Academy Award-nominated director Carlos López Estrada, each year recipients receive a $25,000 grant and access to resources to finish their short films in Dolby Vision® and Dolby Atmos®. Whether you're a film student, an aspiring director, or a seasoned pro, we hope you find the candid advice in this episode helpful and inspiring. Be sure to check out each of the films from our panelists, along with behind-the-scenes featurettes by documentary filmmakers Ian Sotzing and Jordan Fatke. — “ Pause/Play ” by Kaitlyn Ali — “ Fruits of Your Labor ” by Britney Bautista — “ Sirens ” by Thomas Sawyer — “ Zora’s Last Day on Earth ” by Miguel Ramirez — Behind the Scenes: Finish the Script Year 2 Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 16, 2023

Independent filmmaking legend Robert Rodriguez joins us this week, along with his composer and son Rebel Rodriguez, to discuss their mind-bending new action-thriller, “Hypnotic,” starring Ben Affleck. We discuss how they finally completed this film after years of Covid-related delays, why the director still prefers Austin over Hollywood (as his production hub), and how he’s made filmmaking a truly family affair. In addition to Rebel's score, the film benefited from the creative input of Robert's daughter, Rhiannon Rodriguez, who contributed to the storyboards. Racer Max Rodriguez and Rocket Rodriguez, Robert's other sons, brought their respective expertise to the table as well — Racer Max as the a co-writer and producer, and Rocket as an editor. “Now they’re the age where I was when I was doing ‘[El] Mariachi’ and ‘Desperado’ and all that. And I was like, wow, I was on fire back then, with all these ideas. No wonder these guys are [too]. If I need help with ‘Hypnotic,’ I need myself from 20 years ago to come help me finish this thing. And I got them, I got a whole bunch of them! <laughs> So they come with all these great ideas and it's like, wow, divide and conquer. Let's just take over this thing. They're becoming essential to my process, for sure.” — Robert Rodriguez, Director/Producer/Co-Writer/Co-Cinematographer/Editor, “Hypnotic” Be sure to check out Hypnotic , now in theaters. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 9, 2023

Polite Society had one of the biggest debuts at this year’s 2023 Sundance Film Festival and it’s easy to see why. The film is wild, fun, chaotic mashup of genre and style, everything from kung fu action to dark comedy to paranoid spy thriller to coming-of-age drama (and more!) is deftly mixed into this little firecracker of a movie, which was made with an astonishingly small budget during the height of the COVID-19 Omicron surge. Despite these challenges, the film is a masterclass in nailing tone and also turning that tone on a dime. But finding that right balance was no easy feat, requiring lots of trial and error. “It starts with the script… but it’s really found in post, in the edit, how we’re cutting, the rhythm to which we’re cutting, finding the right music, the right score… All of it working together. It became so important. Because as we were test screening it, we could feel audiences weren’t going with us, tonally. And then all we had [left[ was to edit the sound. To kind of find it, and sort of play around with it, and see how we could bring audiences with us.” — Nida Manzoor, Writer and Director, “Polite Society” Joining us on the podcast is the team who “found it.” Writer and director Nida Manzoor, director of photography (and Aikido black belt) Ashley Connor, sound designer and supervising sound editor Jay Price, and re-recording mixers Tushar Manek and Simon Hill. Be sure to check out Polite Society , now in theaters. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 25, 2023

Today we have an exclusive interview with the writer and director of Evil Dead Rise, Lee Cronin, along with sound designer and supervising sound editor Peter Albrechtsen. We discuss how they made this super fun addition to the Evil Dead franchise as well as their collaborative process in crafting one of the creepiest soundtracks you’re likely to experience this year. “Despite the fact that it was contained I wanted the movie to feel epic. And I knew that sound would play a very very important role in that because Evil Dead movies are contained. That’s kind of part of their DNA.” — Lee Cronin, Writer/Director, Evil Dead Rise We have some “epic” clips to share with you, as well as a breakdown of that excruciating cheese grater sequence, so this episode is not for the squeamish. This interview was recorded live at the 2023 SXSW Film Festival. Be sure to check out Evil Dead Rise , now in theaters. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 4, 2023

Making an independent film today is even more challenging than it was in its heyday of the 1990s. So we’re bringing you a panel discussion with directors of two of the festival favorites at this year’s SXSW Film Festival. Directors Hannah Pearl Utt (“Cora Bora”) and Emma Westenberg (“You Sing Loud, I Sing Louder”) take a deep-dive into the state of the independent film industry and the challenges involved in making a film in 2023, including (perhaps most importantly) how to get the gig in the first place: “I read the script and I pitched on it… And then when [the producers] were on board with my take… they said, ‘OK, now the next round is to pitch it to [producer and star] Ewan [McGregor].’ So I went on a Zoom [with him] and I pitched my take on it. Like how I would change the narrative slightly and make different turns. He was listening and then he said, ‘oh, I don’t like that at all.’ [laughs] I just turned beet red and in my head I was thinking — I can’t really back down now. Because this is the way I would tell the story and I don’t know how I would do it otherwise with conviction. So I tried to explain it to him… and then at some point he was like, ‘OK, yeah, maybe that is a good idea.’ I think also it was a little bit of a test to see if I would stick to my guns.” — Emma Westenberg, Director and Executive Producer, “You Sing Loud, I Sing Louder” This panel was moderated by independent producer Kennedy Davey at the 2023 SXSW Film Festival, where “You Sing Loud, I Sing Louder” and “Cora Bora” had their premieres. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 23, 2023

6-time Emmy Award winning (Stranger Things, Love Death + Robots) sound designer, supervising sound editor, and re-recording mixer Craig Henighan has worked with director Darren Aronofsky since Requiem for a Dream. And with A24’s 25th anniversary re-release of Pi, Craig discusses the challenges of updating its original soundtrack. The indie film’s razor thin budget only allowed for a four day mix back in 1998, and as a result, Craig had his work cut out for him as he reconstructed and rebuilt the original soundtrack into its stunning new remaster and Dolby Atmos® mix. Craig also dishes on the collaborative process of working with legendary directors such as Aronofsky and Alfonso Cuarón (Roma), the latter of whom helped earn Craig his first Academy Award nomination. This discussion took place in front of a live audience at the 2023 SXSW Film Festival. Be sure to check out A24’s 25th anniversary re-release of Darren Aronofsky’s Pi . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 18, 2023

It is a time of great disruption in both independent and studio cinema. Join us for a conversation on the evolving role of film festivals in this dramatically changing landscape. We delved into topics such as the role of streaming platforms and online vs in-person festivals. And tackle questions such as how festivals can develop the next generation of talent, and how exactly DOES one get a film into SXSW or Sundance? Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 2, 2023

Table of Contents: 00:02:17 - ALL QUIET ON THE WESTERN FRONT - James Friend, ASC, BSC. 00:29:23 - BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS - Darius Khondji, ASC, AFC. 00:51:23 - ELVIS - Mandy Walker, ASC, ACS. 01:22:59 - EMPIRE OF LIGHT - Roger Deakins, CBE, ASC, BSC. 01:59:27 - TÁR - Florian Hoffmeister, BSC. We are thrilled to bring you these interviews with ALL FIVE of the nominees in the Cinematography category for this year’s Academy Awards. The nominated Directors of Photography are in alphabetical order, by film, in the index above. This is a super-sized episode because each of these interviews are brand new and exclusive to The Dolby Institute Podcast. So get your Oscar ballot ready and enjoy these in-depth discussions about the groundbreaking work these talented individuals have brought to the craft of cinematography this year. If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, be sure you are subscribed to us wherever you get your podcasts . Many thanks to all the studios for helping us pull these interviews together! Be sure to check out ALL QUIET ON THE WESTERN FRONT , BARDO , ELVIS , EMPIRE OF LIGHT , and TÁR before Oscars voting ends! You can also check out the video for this episode, if you’d prefer to watch these interviews and clips from each of the films, on our YouTube channel . Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 15, 2023

Table of Contents: 0:02:03 - ALL QUIET ON THE WESTERN FRONT 0:22:49 - AVATAR: THE WAY OF WATER 0:53:44 - THE BATMAN 1:05:44 - ELVIS 1:39:20 - TOP GUN: MAVERICK Welcome to this year’s coverage of the Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot! Here are the nominees, in alphabetical order: ALL QUIET ON THE WESTERN FRONT —Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel, and Stefan Korte AVATAR: THE WAY OF WATER — Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers, and Michael Hedges THE BATMAN — Stuart Wilson, William Files, Douglas Murray, and Andy Nelson ELVIS — David Lee, Wayne Pashley, Andy Nelson, and Michael Keller TOP GUN: MAVERICK — Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark Taylor With the exception of ELVIS (due to time), each of these interview excerpts is taken from our full episodes dedicated to the sound design of each of these incredible films. Here's a table of contents, in case you'd like to jump around, as well as links to the full episodes from our back catalogue: 0:02:03 - ALL QUIET ON THE WESTERN FRONT - from episode 139, January 10, 2023 Edward Berger — Writer and Director Lars Ginzel — Re-recording Mixer Viktor Prášil — Production Sound Mixer Frank Kruse — Sound Supervisor and Sound Designer Unfortunately, nominee Stefan Korte (Re-recording Mixer) was unable to join us at the time of this recording 0:22:49 - AVATAR: THE WAY OF WATER - from episode 140, January 14, 2023 Christopher Boyes — Re-recording Mixer, Supervising Sound Editor, and Sound Designer Dick Bernstein — Supervising Sound Editor Michael Hedges — Re-recording Mixer Julian Howarth — Production Sound Mixer Gwendolyn Yates Whittle — Supervising sound editor Unfortunately, nominee Gary Summers (Re-recording Mixer) was unable to join us at the time of this recording. 0:53:44 - THE BATMAN - from episode 116, March 8, 2022 Matt Reeves — Director Michael Giacchino — Composer William Files — Supervising Sound Editor Douglas Murray — Supervising Sound Editor Andy Nelson — Re-recording Mixer Unfortunately, nominee Stuart Wilson (Production Sound Mixer) was unable to join us at the time of this recording. 1:05:44 - ELVIS - recorded recently, exclusively for this episode David Lee — Production Sound Mixer Wayne Pashley — Re-recording Mixer, Sound Designer, and Supervising Sound Editor Michael Keller — Re-recording Mixer Andy Nelson — Re-recording Mixer 1:39:20 - TOP GUN: MAVERICK - from episode 133, November 22, 2022 Joseph Kosinski — Director Bjørn Schroeder — Supervising Sound Editor James H Mather — Supervising Sound Editor Al Nelson — Supervising Sound Editor Chris Burdon — Re-recording Mixer Mark Taylor — Re-recording Mixer Unfortunately, Mark Weingarten (Production Sound Mixer) was unable to join us at the time of this recording. Many thanks to all the studios for helping us pull these interviews together! Be sure to check out ALL QUIET ON THE WESTERN FRONT , AVATAR: THE WAY OF WATER , THE BATMAN , ELVIS , and TOP GUN: MAVERICK before Oscars voting ends! We have another episode for Best Cinematography coming up. So if you haven't already, please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 16, 2023

Our coverage of the 2023 Academy Awards continues with another film on the Best Sound shortlist — “Babylon.” The work of director Damien Chazelle (“La La Land,” “Whiplash”) is certainly no stranger to awards season, so this is definitely a film to watch out and, in this case, listen for. Joining us today is re-recording mixer, sound designer, and supervising sound editor Ai-Ling Lee; supervising sound editor Mildred Iatrou Morgan; and production sound mixer Steve Morrow. If you’ve seen the film then you already know it is a bombastic depiction of Hollywood decadence in the time of transition from the silent film era to “the talkies.” And from the what we’ve heard in today’s episode, the production was appropriately over-the-top as well. “Damien’s thing was — ‘this is great, but let's go bigger.’ I think Margot Robbie had a story where she said, ‘I put everything out there and I was going crazy.’ And he walked over and I thought, ‘oh, that's it. He's gonna tell me to tone it back.’ And he goes, ‘ok, can you go a little bigger than that?’ That was kind of the idea behind the whole film. It's — let's go bigger, let's go bolder, let's go beyond what's reasonable, and then we can pull back from there. But let's just see where that line is. And so that's how we treated it on production. We just went as extreme as we could.” —Steve Morrow, Production Sound Mixer, “Babylon” Be sure to check out Babylon in a theater near your, in Dolby Atmos® where available . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 14, 2023

As we continue our 2023 Awards coverage, today we are talking to the sound team behind another film on the Best Sound Academy Awards shortlist — “Avatar: The Way of Water.” Joining us is four-time Academy Award winning re-recording mixer, supervising sound editor, and sound designer Christopher Boyes; supervising sound editor Dick Bernstein; re-recording mixer Michael Hedges; sound mixer Julian Howarth; and supervising sound editor Gwendolyn Yates Whittle. As you’ll hear about in detail in this interview, every member of the sound and music teams needed to work very closely together, in a concerted effort, to make the sound of this film as clean and as clear as possible. Or as James Cameron would often put it, “clarity is king.” Easier said than done with a movie this complex. “In the end, Avatar — visually — is such a complicated image. And I think the human brain can easily take that in and enjoy it. But we — delivering the sound of Avatar — have to work against that, because the human brain can look at all those beautiful visuals, but can't necessarily process a thousand different sonic notions. Really, we wanna simplify it and get the sound to speak to the story that we're trying to tell. And it's not part of the story, it doesn't belong in the track.” — Christopher Boyes, Re-recording Mixer, Supervising Sound Editor, and Sound Designer, “Avatar: The Way of Water” “Avatar: The Way of Water” is now in theaters, in Dolby Vision® and Dolby Atmos® , where available. Be sure to check out our earlier episode with Gwendolyn Yates Whittle, on dialogue editing and ADR . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 10, 2023

This week we sit down with the writer/director and sound team behind the harrowing new adaptation of "All Quiet on the Western Front." Joining director Edward Berger is sound supervisor and sound designer Frank Kruse, sound designer Markus Stemler, re-recording mixer Lars Ginzel, and production sound mixer Viktor Prášil. This film has been shortlisted for the Academy Award for Best Sound, and as Berger says in the interview, this team has a strong track record when it comes to winning sound awards in Germany. So this is definitely a film to keep an eye (and ear) on this awards season. During the conversation, Berger also discusses why he felt now was the ideal time to tackle this adaptation of the classic World War I novel, and how the team approached the sound design and mix for the film, which — to the director — was all about harsh contrasts and abrupt sound cuts: “The film is very much about contrasts. You mentioned the generals and the soldiers. Thematically that's one. But there's also: Destruction and peace, noise and silence, battle and exhaustion, wide shots and closeups, darkness and light. So a lot of it is in contrast. And I love abrupt sound cuts, really hard sound cuts, because they always shake me awake in the movie theater. I always go, ‘oh God, something changed.’ And I have to change pace and I have to listen up. So we had talked about and thought a lot about those contrasts and those hard sound cuts that lent themselves to a rich design, I think.” — Edward Berger, Writer/Director, “All Quiet on the Western Front” (2022) The film's Dolby Atmos® mix can be experienced in the Netflix app — with the German language track enabled — and in Dolby Vision® for compatible screens . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 22, 2022

The 2022 Sundance Grand Jury Prize winner was the first ever horror film to win the top award at the film festival. But before that, "Nanny" — the feature film debut from Nikyatu Jusu — was also the recipient of the 2022 Dolby Institute Fellowship, which awards a low-budget Sundance film with a post-production grant to finish the film in Dolby Vision® and Dolby Atmos®. Now that "Nanny" is available to stream on Prime Video, we recently sat down with writer-director Nikyatu Jusu, supervising sound editor Dave Flynch, and Academy Award winning re-recording mixer Skip Lievsay to discuss the film’s rich soundtrack. This episode was recorded during a live post-screening Q&A for the Artist Academy — Film at Lincoln Center’s program for young filmmakers — and was moderated by our executive producer Amanda Schneider. “We talked a lot about character arc for the soundscape… There is a tendency to neglect sound in the conception stage. And if you think about your soundscape as a character, then you can have an arc for that soundscape so that the audience doesn't become numb, with a relentless soundscape that is not ebbing and flowing.” — Nikyatu Jusu, Writer and Director, "Nanny" Be sure to check out "Nanny" on Prime Video . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 9, 2022

Two-time Academy Award winning director Guillermo del Toro and his co-director Mark Gustafson join us to discuss their latest work — appropriately titled — “Guillermo del Toro’s Pinocchio.” Despite being stop-motion animation, the film features a rich sound design and complex mix. One which the directors had to fight for. “Mark [Gustafson] and I had to fight for the time that we needed on the mix board originally, because [for an] animated movie, they gave us a number of weeks. And we said, ‘no, we need more.’ Scott and I knew that our timing generally takes a little longer. But I think that we ended up understanding that we needed as many passes as a live-action movie — a big one — to reach simplicity. Which is very, very, very at odds. To be simple, we needed to elaborate the mix and make sure we were not mixing something superficial.” — Guillermo del Toro, Director, “Guillermo del Toro’s Pinocchio” Joining the discussion is sound supervisor Scott Gershin, along with re-recording mixers Frank A. Montaño and Jon Taylor, the latter of whom you may remember from our episode on BARDO from earlier this week . Be sure to check out “Guillermo del Toro’s Pinocchio,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos® . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 6, 2022

Multiple Academy Award winning director Alejandro G. Iñárritu joins us to discuss his latest work, the surreal, yet somehow pseudo-autobiographical film, “BARDO, False Chronicle of a Handful of Truths.” Since this episode focuses almost exclusively on the sound of the film, joining the conversation is much of the film’s sound team: Martín Hernández - Supervising Sound Editor and Sound Designer Santiago Núñez - Production Sound Mixer Jon Taylor - Re-recording Mixer Ken Yasumoto - Re-recording Mixer and Sound Designer While the film is truly a visually stunning epic, the director focused much of his attention on the audio, because, as he put it: “I really think that this film is — audio, 75% [of the experience]… It's my favorite film, audio-wise, by far. I think it's a much more complex and difficult film than I have done. And the work that this team did is invaluable. And the experience of the audio in Dolby Atmos — you can close your eyes and really understand and feel the film. So I think the job that this team did is absolutely extraordinary. I'm very happy with it.” — Alejandro G. Iñárritu, Director and Co-writer, “BARDO, False Chronicle of a Handful of Truths” Be sure to check out “Bardo,” available on Netflix starting on December 16th , in Dolby Vision® and Dolby Atmos®. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 2, 2022

Director Ron Howard joins us to discuss his thrilling new film, “Thirteen Lives,” a harrowing dramatization of the real-life rescue of thirteen young Thai soccer players who were trapped in a flooding cave in 2018. Joining the discussion is much of the film’s post-production team: Rachael Tate, Supervising Sound Editor Oliver Tarney, Supervising Sound Editor/Sound Designer Chris Burden, Re-recording Mixer William Miller, Re-recording Mixer James D. Wilcox, Editor Authenticity was the name of the game and the entire filmmaking team took great pains to make this film as historically accurate as possible. “It was great having [the actual rescue divers] Rick Stanton and Jason Mallinson around [set] because they were not only there to help make sure that the diving was accurate and that the divers’ technique was right, and that we understood what the threats and the complications were, and the procedure of it all. But… they're not guys that dwell on emotions very much as individuals. Nonetheless, on the day that we were actually shooting the scene [where they first discover the boys] with the flashlights, I just remember Rick talking about he wasn't sure he'd ever see those boys again. He knew he was leaving them in the dark and… he just thought it was a hopeless scenario and he was pretty shattered by that. And I just thought, ‘leave them in the dark.’ Making a moment that will allow that sort of focus. The flashlights kind of coming out [and] just slowly disappearing until we were in the complete darkness.” — Ron Howard, Director, “Thirteen Lives” Thirteen Lives is available to stream right now on Prime Video . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 29, 2022

Director Ryan White and Academy Award-winning sound designer Mark Mangini join us today to discuss the making of “Good Night Oppy.” This charming new documentary tells the story of the two Mars rovers, Spirit and Opportunity, which were sent to the red planet back in 2003 and were expected to survive long enough to collect data for — hopefully — 90 days. Instead, they blew everyone’s expectations away and one of them, nicknamed “Oppy,” lasted over 15 years. The filmmakers had the advantage of almost a thousand hours of archival material from NASA, but since much of the film takes place “on Mars,” that came with its own unique challenges. “I didn't want it just to be an earthbound story. I wanted it to also take place on Mars. And I didn't want that just to be like grainy black and white photos. And so I asked [our production company] Amblin, ‘is it possible to put the audience on Mars, almost as if I could be there with my documentary crew during this adventure, in a way that is photoreal?’ And Amblin said, ‘we don't know, but luckily our best friends are Industrial Light and Magic.” … Spirit and opportunity each had nine cameras. We know what every day of their journeys looked like. And so we were able to supply all of that photography and all of the data that NASA could give us. So for instance, the weather, where the sun rose and sun set on a day, or how much dust was in the air on a certain day that Spirit was going through. And we asked Industrial Light and Magic, ‘can you take all of this information, all of this data, and create a photoreal Mars?’ And they said, ‘we've never done that before, but we love a challenge. We will build Mars from the ground up for you.’” — Ryan White, Director, “Good Night Oppy” Mark Mangini, who worked as the film’s sound designer, supervising sound editor, and re-recording mixer, then had the unique challenge of “recreating” what exactly those machines and environment might have sounded like on Mars… but without the benefit of microphones on any of the rovers. But as always, he was able to craft an incredible soundtrack and mix in Dolby Atmos®. Be sure to check out “Good Night Oppy,” now streaming on Prime Video in Dolby Atmos® . Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 22, 2022

Director Joseph Kosinski and his sound team discuss their groundbreaking work on the hit sequel to the classic 80s film "Top Gun." Joining the discussion are re-recording mixers Chris Burdon and Mark Taylor, as well as supervising sound editors James Mather, Al Nelson, and Bjørn Schroeder. Since most of the movie's flight scenes were filmed practically (or "in-camera") without relying on too many visual effects in post-production, this created some unique challenges for the sound team. “It was a great catching up with [production sound mixer] Mark Weingarten after he was done with the shoot. And I know that he had a lot of challenges in the beginning just to get those recorders into the cockpit because they had to go through a lot of different steps to ensure the safety. They had to make sure that they could still use the ejector seat just in case of an emergency. So this little recorder had to eject with them, they had to be separate from the cameras. I think it was really important to [director] Joe [Kosinski] and [producer] Tom [Cruise] and everyone in the crew that they could keep it simple and that they could basically trigger the recording before they took off and do all the recordings.” — Bjørn Schroeder, Supervising Sound Editor, "Top Gun: Maverick" "The truth of flying in these airplanes is: They're not that interesting to listen to. When you're inside doing it, it looks spectacular and it feels incredible; and from the outside these jets are deafening and have so much character, depending on where it is relative to you and how fast it's moving. But from the inside, it's very much like riding on an airliner. It's that kind of constant hum. So a big challenge of this film was figuring out, 'okay, that's reality. So we've got this really realistic image that was captured, but how do we get the emotion that we wanna feel from the soundtrack in this?' And that is not easy. There was a lot of — obviously — work and effort from design through mixing to achieve that. And luckily we've got a whole panel full of experts here to take us through that." — Joseph Kosinski, Director, "Top Gun: Maverick" With Awards Season fast approaching, this is certainly a film to look out for in the Best Sound category, and this episode offers a unique insight into just how much went into crafting such a thrilling and dynamic mix. Check out "Top Gun: Maverick" today, available in Dolby Atmos® and Dolby Vision®, where available. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode . Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 15, 2022

Director and co-writer Ryan Coogler joins us to discuss the making of the latest addition to the Marvel Cinematic Universe — Black Panther: Wakanda Forever. Joining the discussion is the film’s composer Lugwig Görannson, supervising sound editor and re-recording mixer Steve Boeddeker, supervising sound editor Benjamin Burtt, and re-recording mixer Brandon Proctor. This is the first Black Panther movie since the sudden and tragic death of its star, Chadwick Boseman. But as the title implies, the filmmakers hope this film is both a fitting tribute to him as well as a reminder that he and his work live on in these powerful films. “What I hope audiences take away from it is how much we love Chad [and] how much we missed him. For us, Chadwick and T’Challa are linked because that was the circumstance by which we got to meet this great guy. It was through bringing his character and this world to life. So for us, it's always gonna be a link there that we can't ignore. So I hope all the audiences understand how we felt about this guy. But in a more expansive sense, just because somebody's dead doesn't mean that they're gone. They feel him and feel what he was about because his effect is still there. I think it's gonna be around forever.” — Ryan Coogler, Director and Co-Writer, Marvel’s Black Panther: Wakanda Forever Be sure to check out Marvel’s Black Panther: Wakanda Forever in theaters now , and in Dolby Vision® and Dolby Atmos® where available. Please subscribe to The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 1, 2022

In this special, supersized episode we take a peek behind the curtain to examine Pixar's unique editorial process. It's often messy and non-linear, with shots and sequences constantly being re-worked... and this might just be the secret to why their films end up feeling so cinematic and have the emotional impact that they do. At Pixar, the editor has much more authority and responsibility than their live-action and traditional cell animation counterparts. How did this come to be? It's all outlined in a new book by authors Bill Kinder and Bobbie O'Steen, "Making the Cut at Pixar: The Art of Editing Animation." Bill and Bobbie join us today to discuss the history of editing at Pixar, and explain the origins of Pixar's groundbreaking editorial process. "If you look at Pixar short films, before they had an editor — all of the ones before 'Toy Story' had no editor, really, they [just] had someone assembling things — they're very classic proscenium, 2D animation... You don't see shot/reverse shot in classic Disney animation. It's just not the way the grammar really worked. Whereas if you watch 'Toy Story,' and that was my memory when I first saw that film — it felt like a movie! And I think that difference, that turning point has to do with the editor saying, 'Wait, we can create shots here. There's a certain language we can use. We're not stuck with the storyboards.' So storyboards are telling us a lot about character and performance and plot and clarity, but now we can up the whole game with what we know about the language of camera." — Bill Kinder, Co-Author, "Making the Cut at Pixar: The Art of Editing Animation" Joining the discussion are couple of legendary filmmakers — both of whom had been there since the very early days — multiple Academy Award® winning director Pete Docter and another multiple Academy Award® winning director and editor, Lee Unkrich. Rounding out this conversation we also hear from longtime collaborator and editor of Pete Docter's, Kevin Nolting, and editor Edie Ichioka, who worked on "Toy Story 2," to give their perspectives. You can find "Making the Cut at Pixar: The Art of Editing Animation" wherever books are sold. Amazon Barnes & Noble To check out many of the Pixar films discussed in today's episode, subscribe to Disney+ . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode . Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 27, 2022

NOTE: This episode contains spoilers. We are back from a short break, as we’ve been working on a couple of very big episodes. But in the meantime, we had the privilege to speak with Michael Giacchino, the director of Marvel’s “Werewolf by Night,” a super fun and spooky “television special” on Disney+, perfect for this Halloween season. Joining us for the discussion is much of his post-production team: Re-recording Mixer Juan Peralta, Editor Jeff Ford, Supervising Sound Editor Josh Gold, and Dialogue and ADR Supervisor Chris Gridley. Maybe it’s because Giacchino, one of Hollywood’s top film composers, is usually a member of the post team, but his rapport with his crew is apparent in this lively discussion. Clearly this team had a blast working together and that infectious spirit continues here. We discuss the challenges of making a modern Marvel film in a Classic Hollywood “creature feature” style, the directorial advantages of being your own composer, that wild flame-throwing tuba, and so much more. “I even had some music that I had written that was going to be in the movie itself, thematically. And so I could play that for the actors and just have the sense of tone — so they'd get it immediately. It's something weird about music, the moment you hear it, it puts you in a place, you know? And so it was nice to have that. So that helped me figure out tones on set the entire shoot, for it was always in my head.” — Michael Giacchino, Director, Marvel’s “Werewolf by Night” Very special thanks to our friends at Disney, Marvel, and especially Skywalker Sound , who were instrumental in pulling this conversation together for us. Be sure to check out Marvel’s “Werewolf by Night” this spooky season, available now, exclusively on Disney+ , in Dolby Vision® and Dolby Atmos®. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 23, 2022

NOTE: This episode features clips mixed in Dolby Atmos®. For best results, please listen to this episode with headphones! Podcasts have exploded in popularity in recent years, and creators have been exploring new ways to create fully-immersive experiences for their listeners. In today’s episode, we speak with a few of the companies that are on the cutting-edge of crafting a truly cinematic experience for audio storytelling in podcasts, from QCODE and Wondery, the latter of which is now delivering podcasts in Dolby Atmos® — for a next-level listening experience — via the Wondery+ app. This innovation has made it possible to drop a listener directly into the world of a podcast like never before. “The beautiful thing about mixing in Atmos is you're really designing in a spatial environment. Our team is able to think about how objects sound around the listener in a spatial environment that's additive to the storytelling. So it's not just about that mono experience, let alone stereo. But really, we try to be thoughtful about how we use the technology to enhance the storytelling and immerse a listener into the actual world of the story.” — Steve Wilson, Chief Strategy Officer, QCODE Throughout this episode, we have included several clips of recent shows, which were all mixed in Dolby Atmos®, so you can experience just how immersive this technology can make a podcast feel. So, please, if you can, listen to this episode with headphones. How to listen to podcasts in Dolby Atmos® . Check out the free trial of Wondery+ . FEATURED in today’s episode, all of these podcasts were mixed in Dolby Atmos®: - “Electric Easy” - “Jacked” - “Listening In” - “Soft Voice” - “Who Killed Daphne?” Hollywood Reporter - “Wondery to Release Podcasts in Dolby Atmos Format,” by Carolyn Giardina . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode . Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 12, 2022

If you caught the last installment of the Thor franchise, then you already know that director Taika Waititi has taken this particular series in the Marvel Cinematic Universe into a considerably more comedic direction. And Thor: Love and Thunder continues that trend. This film has some very funny sound moments, including a jealous battle axe, Russell Crowe doing an over-the-top Greek accent, and a pair of screaming goats. Literally. But how does creating a soundtrack for comedy — and specifically a superhero comedy — differ from crafting a typical superhero action movie? Joining us to discuss that on today's episode are the film's re-recording mixers Onnalee Blank and Brandon Proctor, supervising sound editors Daniel Laurie and Baihui Yang, and sound designer Samson Neslund. "We were like, 'well, how do we make that sound fun and magical and ridiculous, but still be grounded somehow? And actually feel like it's a boat?' I mean, that goat boat is ridiculous. And of course the goat [is] screaming. They're just screaming throughout the whole film. And we kept talking like, 'is it gonna be too much screaming? Do we outplay that joke?' You just never could get enough screams. You just need more. And [supervising sound editor] Baihui [Yang] would laugh every time a scream happened. [So] you're like, 'nope! Still working.'" — Brandon Proctor, Re-recording Mixer, Thor: Love and Thunder Thor: Love and Thunder is in theaters now! And be sure to check it out in Dolby Vision® and Dolby Atmos® where available. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 21, 2022

Quick Content Warning: There is some colorful language in this podcast episode. Listener discretion is advised. Season 3 of the eleven-time Emmy winning series LOVE DEATH + ROBOTS hit Netflix on May 20th and we are delighted to sit down with creator Tim Miller, supervising director Jennifer Yuh Nelson, and supervising sound editor Brad North to discuss how they managed to succeed where so many others have failed — creating a hit anthology television series. "It really comes down to who's doing the shorts. There's been a lot of care trying to match-make: The shorts, the stories, the directors, and the studios. You've got a whole lifetime of experience with people and studios that Tim has worked with at Blur. People that have been doing incredible content, that maybe haven't had the opportunity to do a feature yet, because of the size and experimentalism of that particular place. And to be able to hook them up with really good, solid stories that they can put all of their effort into making that, actually, great. You're not spinning a lot of wheels here. You're doing amazing. Everything goes right to the screen." — Jennifer Yuh Nelson, Supervising Director, LOVE DEATH + ROBOTS Be sure to check out LOVE DEATH + ROBOTS, only on Netflix. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 16, 2022

The latest season of "Stranger Things" finally returned to Netflix on May 27th and we are so excited to sit down with the creators of the show, along with several key members of the post-production team, to discuss the sound, music, and editorial process behind this wildly successful series. This is a supersized episode of the podcast with a TON of bonus guests. Joining us are the creators (as well as writers and directors) Matt and Ross Duffer; composers Kyle Dixon and Michael Stein; re-recording mixers Mark Paterson, Craig Henighan (also the sound supervisor), and Will Files (also the supervising sound editor); and the editor of the series, Dean Zimmerman. This conversation offers an incredible glimpse into the creative process of what makes "Stranger Things" work so well. And it's apparent from this conversation that it has a lot to do with how much this team trusts each other in order to work so seamlessly together. "Yeah, there's a lot of people who work on the show. But in terms of making big, big decisions, say in post-production, shaping the sound and the music of the show, it's a pretty, actually, tight knit group. And I think we've all gotten to the point where we really respect and trust each other. And then it's just a creative collaboration... It feels weirdly the same as it did season one." — Matt Duffer, Co-Creator, "Stranger Things" Be sure to check out "Stranger Things," only on Netflix. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 14, 2022

The newest and final installment of the Jurassic World franchise roared into theaters on Friday and we are delighted to share this conversation with director Colin Trevorrow and his sound team, to discuss how they crafted the soundtrack to this latest dinosaur Summer blockbuster. On today's podcast: — Colin Trevorrow, Director and Co-writer — Christopher Boyes, Re-recording Mixer — Pete Horner, Re-recording Mixer — Al Nelson, Sound Designer and Supervising Sound Editor — Gwendolyn Yates Whittle, Supervising Sound Editor Jurassic World Dominion features another monstrous soundtrack that these dinosaur epics are known for. But as you might have guessed, keeping those big action set pieces sonically coherent enough for an audience to actually enjoy is a very complicated, but also enjoyable, challenge for the sound team. "One thing that we take for granted as humans, when we walk into a chaotic environment, our brains are actually mixing that environment for us. Where what we choose to focus determines what we're actually hearing. In a theater, we have to do that for the audience. If we just put all the sound in, then you don't hear anything — because it's chaotic and our brains are not able to do that in a theatrical setting. So as mixers, Chris and I are collaborating, trading off, 'OK, this is a moment for dialogue. This is a moment for dinosaurs...' And then in the midst of it, somehow there's an orchestra playing. And so we have to also make room for themes, which are incredibly important to how you experience the scene and feel about it. So that's the challenge and, honestly, the excitement of doing a scene like that. You have everything at your fingertips and you have to decide, 'What are we hearing here? What are we hearing here?' So it's really fun." — Pete Horner, Re-recording Mixer, Jurassic World Dominion Be sure to check out Jurassic World Dominion in theaters, and ideally at a Dolby Cinema, near you! https://www.jurassicworld.com/ Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 2, 2022

Legendary sound designer and re-recording mixer Gary Rydstrom joins us once again, this time to discuss his groundbreaking work on Steven Spielberg's classic film, "Jurassic Park" (1993), ahead of the upcoming premiere of the final film in the franchise — "Jurassic World: Dominion." Amazingly, even nearly 30 years later, Rydstrom's work on the original film still holds up incredibly well. "I have a theory that — especially in the early days of computer graphics — sound needed to be real. Even more so, like real sounds. Synthesized sounds are hard to do [and] not so interesting, usually. So I knew we needed to be real. But in this case, it has to ground visuals that you can't believe, right? So the sound had to be organic and real. So the first thing I did is record as many animals as I could." — Gary Rydstrom, Sound Designer and Re-recording Mixer, "Jurassic Park" (1993) Rydstrom and his team recorded dozens of animals and layered those tracks together to create the unforgettable sounds of the dinosaurs, as showcased in the behind-the-scenes documentary: "The Making of 'Jurassic Park,'" directed by John Schultz, which we feature in today's episode: https://www.imdb.com/title/tt0256908/ "Jurassic World: Dominion" will be available in theaters on June 10th in Dolby Vision® and Dolby Atmos®, where available. https://www.jurassicworld.com/ Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 24, 2022

On today's episode, we welcome the filmmaking team behind the new 3-part documentary about Kanye West from directors Coodie Simmons & Chike Ozah, which debuted at this year's Sundance Film Festival and is now available on Netflix . This film features some of the most intimate and vulnerable footage you may ever see of the iconic and enigmatic hip-hop star. It's clear that Kanye gave the filmmakers not just unprecedented access to his personal life, but also a great deal of his trust. "Kanye was always my brother. We had like 500 hours of footage on Kanye, but it was years of us being connected, you know what I mean? So it was more than just filming... It was a relationship. He was definitely a little brother, which I always wanted. I think I found a little brother in Kanye." — Coodie Simmons, Co-Director, "jeen-yuhs: A Kanye Trilogy" Joining the conversation is re-recording mixer Paul Hsu, to tell us how he crafted such an incredible soundtrack, often from single audio sources and decades-old videotapes. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 21, 2022

Part two (of two) of our exclusive, in-person interview with the filmmakers. If you missed part one, be sure to check out that episode (#121) from earlier this week, which you can find wherever you get your podcasts. Joining us again are directors Daniel Kwan and Daniel Scheinert (known collectively as "Daniels"), as well as the film's sound designer and sound effects editor, Andrew Twite, and the re-recording mixer and sound supervisor, Brent Kiser. Today we're devoting the entire episode to the music of "Everything Everywhere All at Once" because it was such an intensive process. So much so that the composers, the indie band Son Lux (comprised of members Ryan Lott, Ian Chang, and Rafiq Bhatia) spent an unusually long time working very, very closely with the filmmakers on this project: "They came on before we started photography. They helped us write some songs that needed to be on camera. Like the fake musical and stuff. They gave us their entire library of all their personal projects, as well as all their records [and] instrumental versions. And we cut the whole movie to their music. And then they were on during the whole edit, working on the score. So they were part of the project for over two years and created over two hours of original music." — Daniel Scheinert, co-director, co-writer, and co-producer, "Everything Everywhere All at Once" If that sounds like a lot, that's because it was. As part of this episode, we also speak with Ryan Lott, the founding member of Son Lux, to describe his journey working on this film and all its many parts, including crafting different musical styles for each multiverse, collaborating (and singing a duet!) with Randy Newman, as well as discovering the artistic potential of working in Dolby Atmos®. "There were times where we were very specific about 'the front wall' and keeping most things really focused on the front wall. And then, finding moments and specific elements too that could basically embrace you, sonically. And I started to think, during that mix, how that is a musical choice. That's an artistic choice. That's not just a technology choice. That's not just an engineering thing." — Ryan Lott of Son Lux, composer, "Everything Everywhere All at Once" Be sure to check out "Everything Everywhere All at Once" at a cinema near you, now playing in Dolby Atmos®, where available. Many thanks to our friends at A24 for helping us pull this conversation together! If you enjoyed this two-part conversation with the filmmakers, please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts , as we have many more episodes just like this one coming up in the near future! You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 19, 2022

Part one (of two) of our exclusive, in-person interview with the filmmakers of this mind-blowing new film, now playing in cinemas. We are joined by the directors Daniel Kwan and Daniel Scheinert (known collectively as "Daniels"), as well as the film's sound designer and sound effects editor, Andrew Twite, and the re-recording mixer and sound supervisor, Brent Kiser. If you haven't seen "Everything Everywhere All at Once" yet, it is an incredible example of genre-bending experimentation taken to the absolute extreme. And the directors worked closely with the sound team, in order to craft one of the biggest independent action films in recent memory. "We knew we wanted to create something that somehow bridged the gap between big blockbuster action films and really intimate risk-taking indie films. And we wanted to find a way to do both at the same time. To carve out space for independent films in theaters, because that's something that's slowly being carved out more for these big, big IP blockbuster films. And we wanted to create a family drama that could basically stand up against those films. So we knew we wanted to make it really entertaining, but also we wanted to give ourselves a challenge of creating a multiverse film — that actually stared at infinity and actually went all the way to its logical, terrifying conclusion — and yet still pulled you back from the brink of meaninglessness and gave you a warm hug by the end." — Daniel Kwan, co-director, co-writer, and co-producer, "Everything Everywhere All at Once" To see just how the filmmakers pulled off that incredible challenge, be sure to check out "Everything Everywhere All at Once" at a cinema near you, now playing in Dolby Atmos®, where available. Many thanks to our friends at A24 for helping us pull this conversation together! Remember: This is only PART ONE of our conversation with the filmmakers of "Everything Everywhere All at Once." Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts , so that you don't miss PART TWO, which will debut later this week. You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 29, 2022

Our guest host this week, Tom Graham, is joined by some of the top colorists working today to have a roundtable discussion about HDR workflows and working in Dolby Vision®. This is a passionate conversation, with lots of technical detail, which highlights why so many of these artists are so excited to be working with these new tools available to them. "We've had the ability to have bright TVs for the longest time, right? That's only a part of the equation. I think what's most exciting to me about the HDR conversation, particularly about the Dolby Vision workflow, is the conversation about better images, better data. More of it. And that includes wider color. That includes more intelligent tone mapping, that includes the ability to better represent artists' intent throughout the entire pipeline, no matter where that image is going to show up." — Robbie Carman, Lead Colorist & Partner, DC Color Many thanks to this week's guests: Robbie Carman — https://dccolor.com/about/ Joey D'Anna — https://dccolor.com/about/ Dan Moran — https://www.danmorancolour.com/ Patrick Inhofer — https://mixinglight.com/author/patrick-inhofer/ Learn more about Dolby Vision® for Content Creators here: https://professional.dolby.com/content-creation/dolby-vision-for-content-creators/ Dolby Vision® Training and Certification can be found here: https://prostore.dolby.com/ To learn more about Mixing Light, check out: https://mixinglight.com/ Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 18, 2022

Welcome to our continuing coverage of this year's Academy Awards®. Like last year, we have compiled interviews from the nominees in the Best Animated Feature Film category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for as you get to this category on your ballot! Here are the nominated films, in alphabetical order: ENCANTO : Jared Bush, Byron Howard, Yvett Merino, and Clark Spencer FLEE : Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen, and Charlotte De La Gournerie LUCA : Enrico Casarosa and Andrea Warren THE MITCHELLS VS. THE MACHINES : Mike Rianda, Phil Lord, Christopher Miller, and Kurt Albrecht RAYA AND THE LAST DRAGON : Don Hall, Carlos López Estrada, Osnat Shurer, and Peter Del Vecho Here's a table of contents of interviews, in case you'd like to jump around: 0:01:28 — ENCANTO - Byron Howard and Yvett Merino 0:21:15 — LUCA - Enrico Casarosa 0:37:51 — THE MITCHELLS VS. THE MACHINES - Mike Rianda, Phil Lord, and Christopher Miller 1:03:02 — RAYA AND THE LAST DRAGON - Carlos López Estrada and Osnat Shurer NOTE: As always, all nominees were invited to join our conversations and we regret that we weren't able to connect with the talented filmmakers behind FLEE in time for our podcast posting deadline. Thanks to all the studios for helping us pull these interviews together! Be sure to check out ENCANTO , FLEE , LUCA , THE MITCHELLS VS. THE MACHINES and RAYA AND THE LAST DRAGON before Oscars voting ends! Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 15, 2022

Welcome to our continuing coverage of this year's Academy Awards®. Like last year, we have compiled interviews from the nominees in the Best Cinematography category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for as you get to the Best Cinematography category on your ballot! Here are the nominated Directors of Photography, in alphabetical order by film: DUNE : Greig Fraser NIGHTMARE ALLEY : Dan Laustsen THE POWER OF THE DOG : Ari Wegner THE TRAGEDY OF MACBETH : Bruno Delbonnel WEST SIDE STORY : Janusz Kaminski Here's a table of contents of interviews, in case you'd like to jump around: 0:01:48 — DUNE — Greig Fraser 0:15:51 — NIGHTMARE ALLEY — Dan Laustsen 0:38:35 — THE POWER OF THE DOG — Ari Wegner NOTE: As always, all nominees were invited to join our conversations and we regret that Bruno Delbonnel and Janusz Kaminski were unavailable to join us in time for our podcast posting deadline. Thanks to all the studios for helping us pull these interviews together! Be sure to check out DUNE , NIGHTMARE ALLEY , THE POWER OF THE DOG , THE TRAGEDY OF MACBETH and WEST SIDE STORY before Oscars voting ends! We have one more episode of our special Academy Awards® coverage, coming coming in the next few days. That episode is devoted to the Best Animated Feature category. So if you haven't already, please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 10, 2022

Director Matt Reeves joins us again this week to discuss The Batman. This is part 2 of our special 2-part episode on this movie, where we discuss the film's incredible cinematography. If you haven't already, be sure to check out part 1, where we break down the sound and music of The Batman, in our podcast archive from earlier this week, or on YouTube: https://youtu.be/uZ_3Kdm_ZhE Joining Matt is Director of Photography Greig Fraser (who joins us separately, later in this episode, as he is currently on location in London), and Supervising and Lead Digital Colorist, David Cole.But this episode is not just a deep dive into the technical aspects of their fascinating post-production process, but also includes details on how Matt and Greig managed to make such an epic movie feel like you, in the audience, were right there in the middle of all the action. "When we shot things, even like the Batmobile chase, even though there's a tremendous amount of visual effects in the movie, I didn't want you to be aware that we were doing them at all. And so we always used the parameters of how you would do it if you were doing it practically. And so [with] the Batmobile chase, we're putting cameras and we're locking them onto hard mounts, so you're watching a lot of hard mounts and that kind of stuff. And then, 'what's in focus?' And it's in the middle of rain. And 'what does that rain look like?' And there were times when Greig would take a filter and put a little bit of silicone on it... so that when you put it in front of the lens and when it got wet, you had the sense that it wasn't just that we were in rain that was perfectly photographed. The lens itself got wet. So you feel like you're in the middle of it. And so everything was about putting you squarely in that experience." — Matt Reeves, Director, Co-Writer, and Producer, "The Batman" Be sure to check out The Batman at a Dolby Cinema near you. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 8, 2022

Director Matt Reeves joins us this week to discuss The Batman. This is part 1 of our special 2-part episode on this film, since there is so much to discuss with Matt and his team. So be sure to check out part 2, where we discuss the cinematography of The Batman, which will debut this Thursday! In this episode we are joined by Matt and his incredible team of sound and music artists: Michael Giacchino - Composer Will Files - Supervising Sound Editor Douglas Murray - Supervising Sound Editor Andy Nelson - Re-Recording Mixer Somehow, despite their very busy schedules, we managed to spend over an hour together (in-person!) discussing the amazing work this team did. And as you'll soon discover, this is a group that works incredibly well together, each bringing their exceptional creativity and craft to the process. But we also spend a lot of time discussing how Matt manages to bring everything together so seamlessly as the director: "You have to become an emotional compass. To me, that is the job of the director. Because you have so many incredibly creative people who you're working with. Here: I make a movie in my head and a piece of paper — that's one version of the movie. And it's a very narrow band of what that movie could be. And then you work with these artists and you want everyone to bring something... And I have to be an emotional compass to say, 'that idea is great! That idea really works!' Somebody has to do that. And the way you do that is by immersing yourself into that thing." — Matt Reeves, Director, Co-Writer, and Producer, "The Batman" This episode is a master class in filmmaking and collaboration, with a ton of insights into the process of crafting this latest superhero epic. Be sure to check out The Batman at a Dolby Cinema near you. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Mar 1, 2022

Welcome to our continuing coverage of this year's Academy Awards. Like last year, we have compiled interviews from each of the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot! Here are the nominees, in alphabetical order: BELFAST: Denise Yarde, Simon Chase, James Mather and Niv Adiri DUNE: Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett NO TIME TO DIE: Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor THE POWER OF THE DOG: Richard Flynn, Robert Mackenzie and Tara Webb WEST SIDE STORY: Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy Each of these interview excerpts is taken from our full episodes dedicated to the sound design of each of these incredible films. Here's a table of contents, in case you'd like to jump around, as well as links to the full episodes from our back catalogue: 0:01:33 - BELFAST - from episode 104, December 9, 2021 Sir Kenneth Branagh — Director, Writer, and Producer Simon Chase — Sound Supervisor and Re-recording Mixer Niv Adiri — Academy Award-Winning Re-recording Mixer James Mather — Sound Supervisor 0:16:56 - DUNE - from episode 99, October 26, 2021 Denis Villeneuve — Director, Writer, and Producer Mark Mangini — Supervising Sound Editor Theo Green — Sound Designer / Supervising Sound Editor Ron Bartlett — Re-recording Mixer 0:33:02 - NO TIME TO DIE - from episode 101, November 10, 2021 Oliver Tarney — Supervising Sound Editor Paul Massey — Re-recording Mixer Mark Taylor — Re-recording Mixer 0:46:04 - THE POWER OF THE DOG - from episode 105, December 13, 2021 Jane Campion — Director, Writer, and Producer Robert Mackenzie — Supervising Sound Editor Dave Whitehead — Sound Designer Tara Webb — Re-recording Mixer (1st nom) 0:57:39 - WEST SIDE STORY - from episode 114, February 22, 2022 Gary Rydstrom - Re-recording Mixer, Supervising Sound Editor, Sound Designer Shawn Murphy - Scoring Mixer Brian Chumney - Supervising Sound Editor Tod A. Maitland - Sound Mixer Andy Nelson - Re-recording Mixer Many thanks to all the studios for helping us pull these interviews together! Be sure to check out BELFAST , DUNE , NO TIME TO DIE , THE POWER OF THE DOG , and WEST SIDE STORY before Oscars voting ends! We have two more episodes just like this one — for the Best Cinematography and Best Animated Feature categories — coming up. So if you haven't already, please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 22, 2022

If it seems like the Hollywood musical is making a comeback, that's because, in many ways, it is. And after decades of promising to one day direct one, legendary filmmaker Steven Spielberg finally decided to tackle a new interpretation of "West Side Story." The film is now nominated for seven Academy Awards, including Best Cinematography, Best Director, Best Picture, and Best Sound. Joining us today is the sound team behind this film, who collectively took great pains to use as many modern recording techniques available to them to create this impressive, cutting-edge soundtrack. Gary Rydstrom - Re-recording Mixer / Sound Designer / Supervising Sound Editor - this is his 20th Academy Award nomination (seven wins) Shawn Murphy - Scoring Mixer - fourth nomination (one win) Brian Chumney - Supervising Sound Editor - first nomination Tod A. Maitland - Sound Mixer - fifth nomination Andy Nelson - Re-recording Mixer - 22nd nomination (two wins) "I think the most remarkable thing in this movie is you never, for one second, don't believe that the singing you're hearing, or the acting you're hearing, is not happening on that set. It feels completely believable at every time. And seamlessly goes in and out of the music. I've never heard a musical be that seamless before. I think that's one of the great achievements of this particular movie." — Gary Rydstrom, Re-recording Mixer / Sound Designer / Supervising Sound Editor, "West Side Story" "West Side Story" is now playing in cinemas and will be streaming on HBO Max and Disney+ as of March 2, 2022. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Feb 9, 2022

With yesterday's announcement of the 94th Academy Award nominations, this year's award season is now in full swing! We decided it would be fun to bring in some experts to discuss the nominees, especially those in some of our favorite categories — Best Sound and Best Cinematography — as well as others (and the show itself) for a very spirited conversation on this year's top contenders. Our guests: Lon Harris — Pop Culture Writer for Screen Junkies — https://twitter.com/Lons Will Mavity — Awards Correspondent at NextBestPicture.com — https://twitter.com/mavericksmovies Jazz Tangcay — Senior Artisans Editor at Variety — https://twitter.com/jazzt For all of our upcoming Academy Awards coverage, please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 25, 2022

We conclude our special coverage of sound design for video games by interviewing the sound team at Gearbox Software, which famously created "over one billion guns" for its latest first-person shooter, Borderlands 3. So how exactly does a team design the sound for so many different guns? Turns out, it's actually kinda fun. "The godsend was the fact that we have a good set of field recording gear internally anyway and... we live in Texas. So, there's lots of people with lots of guns and lots of places, lots of space. So outside of the formal gun shoots that we did, which was really only one — formal gun shoot — we did a whole lot of side shoots here, locally, just us. And some of that was experimentation. Some of that was filling holes. We were learning as we were going. Where we needed more content, where we needed different types of content, different perspectives, different tales. Those kinds of things. And we would go out and do those shoots." — Mark Petty, Audio Director, Gearbox Software Thanks again to Gearbox Software for joining us this week! Borderlands 3 is currently available on your favorite video game platforms . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 18, 2022

As we continue to delve into the world of sound design for gaming, we have a special conversation to share with you today with one of the heavy hitters in this space — Rob Bridgett. Rob is something of a visionary in their field and has a new book called, "Leading with Sound: Proactive Sound Practices in Video Game Development," where they share some of their fascinating insights and philosophy on crafting soundtracks for video games. "I talk about the topic of leading with sound through each one of those subject areas [music, sound, dialogue, and mix]. What are the opportunities for sound designers or composers or dialogue designers? What are the opportunities that they may be missing early in pre-production or production and try to deemphasize this idea of post-production. I know it's something that I've spent a lot of my time trying to create and defend in video games. And I still maintain that we 100% have to have post-production time and we have to be the last part of the baton race. I'm not arguing for that to go away. That's still critical, it feels like those are the gates of Valhalla for us, in audio. It's like once we arrive at post-production, we should already have all this other stuff figured out." — Rob Bridgett, Audio Director, "Shadow of the Tomb Raider" Our colleague Andy Vaughan discusses the book, as well as Rob's work on "Shadow of the Tomb Raider," their overall career, and some of the exciting new experimentation they're doing in partnership with McGill University. You can learn more about Rob and check out their book here . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 13, 2022

Academy Award-winning sound artist Skip Lievsay has worked with some of the greatest filmmakers for the past several decades, including Martin Scorsese, Darren Aronofsky, Michael Moore, Alfonso Cuarón, and his most frequent collaborators, the Coen Brothers. In this in-depth interview, Skip tells us some of his greatest tricks of the trade, whether working with first-time filmmakers or directors of the highest calibre. Specifically, being brave enough to experiment and even get things "wrong," even if that leads to some awkward moments on the mix stage. "That's a valid, valuable experiment. We do that all the time. You don't know how far is too far until you go there. And you don't know if too far is not good until you find out, one way or the other." — Skip Lievsay Skip's latest film, "The Tragedy of Macbeth," directed by Joel Coen is available on AppleTV+ as of January 14 . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 11, 2022

Since so much groundbreaking sound work is being created in the world of gaming these days, we've decided to dedicate the next few episodes of this podcast to some of the superstars behind your favorite new video games. Continuing that ongoing coverage, today our colleague Alistair Hirst sits down with the sound team behind "Ghost of Tsushima," a giant open world Samurai action game set in feudal Japan. The team took painstaking steps to give players as authentic and immersive an experience as possible. "We did an immense amount of research. Every single team did, because we're really having to learn this entire historical time period. It really happened, it really existed. And while taking creative liberties where necessary, we still wanted to do the time period and the content justice... It was just constant research and going out in the field and recording. We employed our team at Sony Japan studio... to go record throughout the main island of Japan, to capture a lot of ambience for us. And all of these things really helped inform how the game was going to sound." — Brad Meyer, Audio Director, "Ghost of Tsushima" Be sure to check out "Ghost of Tsushima," available now on PlayStation 4 and PlayStation 5 . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jan 4, 2022

Since so much groundbreaking sound work is being created in the world of gaming these days, we've decided to dedicate the next few episodes of this podcast to some of the superstars behind your favorite new video games. First up is the sound and music team from Eidos Montreal, who brought us "Marvel's Guardians of the Galaxy." Bringing this massive title to life was no easy endeavor, especially during a global pandemic. Yet the end result is a thrilling game with a surprisingly emotional story that is very rewarding to play through. “We wanted it to feel epic. We wanted it to have that, that sort of comic book jumping out of the pages, that Saturday matinee movie that you've been waiting for.” — Steve Szczepkowski, Senior Audio Director, "Marvel's Guardians of the Galaxy" Our guest moderator this week, Andy Vaughan from Dolby Game Developer Relations, spoke with the team behind this game for an in-depth look into their process. Be sure to check out "Marvel's Guardians of the Galaxy" on a your favorite gaming platform. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 23, 2021

In Part Two of our conversation about "Nightmare Alley," we are joined by an impressive team of sound artists, who worked very closely with Guillermo del Toro in crafting this film: - Nathan Robitaille, Supervising Sound Editor - Jill Purdy, Supervising Sound Editor - Christian Cooke, Re-recording Mixer - Brad Zoern, Re-recording Mixer - Greg Chapman, Production Sound Mixer We've included some additional material from our one-on-one interview with the director himself, so that we could discuss some key creative decisions and how the team responded to his direction. They remarked not only on his famous eye (and ear) for detail, but how every creative decision seemed to be driven, as always, by story: "One of the things Guillermo said to us is — it's really important that we emphasize the freedom in poverty at the carnival, and the restriction and that suffocating isolation in the wealthy back half of the city, once they start to succeed and they go to the big city. That was the big global bird's-eye note. And so from there forward, that would influence every choice that got made, as we started doing pre-design elements and sourcing the bits that would eventually build the cacophony that was the carnival and the Copacabana and all." — Nathan Robitaille, Supervising Sound Editor, "Nightmare Alley" Definitely check out Part One of this discussion, where we sat down with Guillermo del Toro himself to discuss his filmmaking techniques & philosophies which he applied to "Nightmare Alley," as well as many of his other hit films. That episode was released just a few days ago and can be found wherever you get your podcasts . While you're there, be sure you are subscribed to Sound + Image Lab: The Dolby Institute Podcast. Afterwards, be sure to check out "Nightmare Alley" in a Dolby Cinema near you ! You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 21, 2021

We recently sat down with legendary filmmaker Guillermo del Toro ahead of the premiere of his latest film, the slick and stylish noir thriller, "Nightmare Alley." Our conversation was so inspiring that we decided to release this podcast in two parts. Today, enjoy this inspiring, one-on-one conversation for a unique glimpse into the creative process of one of the greatest directors working today. If you are at all interesting in filmmaking, consider this podcast episode a must-listen. This is especially true for anyone interested in what a film director does: "One of the functions of the director is to make sure that there are no departments that are independent in the visual realization of the film. Meaning... you create a series of parameters that are narrative, and that can be broken [down] into color, light, shape, form. That those disciplines are understood by all those departments. When you say, 'what great cinematography,' you're saying, 'what great production design.' When you say, 'what great production design,' you're saying, 'what great wardrobe.' And when you're saying, 'what a great image,' you're saying, 'what great set decorating.' And that's when the director does the job of the director — which is to make sure that these efforts are symphonic, to story and to character. So one of the mandates I give is: We're not creating eye candy, we're creating eye protein. And it should be nutritious. It should tell you something about the character. It should immerse you in a motif." — Guillermo del Toro, Director, Co-Writer, Producer, "Nightmare Alley" Part two of this discussion, with the "Nightmare Alley" sound team, will be released later this week, so make sure you are subscribed to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . In the meantime, be sure to check out "Nightmare Alley" in a Dolby Cinema near you ! You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 13, 2021

Director Jane Campion joins us today to discuss her harrowing new drama, "The Power of the Dog." It is a dark, psychological thriller made even more thrilling by the incredible sound work by Academy Award-winning supervising sound editor Robert Mackenzie, sound designer Dave Whitehead, and re-recording mixer Tara Webb, all of whom joined in our discussion. So many aspects of making this film were unique to Jane's filmmaking approach. Or as Robert put it: "With Jane, you have to throw out all the rules. There are no rules." — Robert Mackenzie, Supervising Sound Editor, "The Power of the Dog" This episode offers a fascinating glimpse into their unconventional process: How they experimented with Dolby Atmos ® to sharpen tension in what is a particularly quiet film, how they crafted the sonic character of an old house, and how they worked with Jonny Greenwood's brilliant score... which came in before the film was even edited. "That's something I learned from 'The Piano' — how powerful that was. Obviously because Holly Hunter's character, Ada, needed to play the piano during the scenes quite often, we needed to have those piano pieces from Michael Nyman. And so he really wrote most of the music before we began shooting that film. And I loved that so much. And saw the benefit of it and the freedom of it — for the composer, actually. And so ever since then, I've tried to create a situation where the music comes really at the same time as the shooting." — Jane Campion, Director, Writer, and Producer, "The Power of the Dog" Be sure to check out "The Power of the Dog" in Dolby Vision ® and Dolby Atmos ® on Netflix . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 9, 2021

Today we are joined by director Sir Kenneth Branagh to discuss his deeply personal new film, "Belfast." The film tells the semi-autobiographical (fictionalized) story of "Buddy," a 9-year old boy living in the city during the "The Troubles" of 1969. It is an intimate portrait of a small family on a tiny city block surrounded by chaos and upheaval. To help convey the overwhelming feeling of menace, seemingly just around every corner, the director tapped Simon Chase — Sound Supervisor and Re-recording Mixer, Niv Adiri — Academy Award-Winning Re-recording Mixer, and James Mather — Emmy Award-Winning Sound Supervisor, all of whom join us today on the podcast to discuss how they crafted such a rich soundtrack for such an intimate film. And, as it turns out, the inspiration for this project was actually a sound from Sir Kenneth Branaugh's memory: "A lot of people have asked me, 'why did you want to write it?' And interestingly, given what we're talking about today, what I found myself coming up with was to revisit the moment when I heard a sort of surreal twenty seconds where literally my life changed. And it was to do with hearing. 'Is that a bumblebee I'm hearing? Are those bees I'm hearing? They're not. What are they? What is that fuzzy thing at the bottom of the road? Those aren't bees. Oh no, those are people. Oh no, this is a riot.' But all of that in my mind [and] in my memory is what drove the writing of it... You might describe those 20 seconds, in sound terms, as an element of the film that describes the last day of my childhood. Because after that, everything changed." — Sir Kenneth Branagh, Director, Writer, and Producer, "Belfast" Be sure to check "Belfast," available in Dolby Vision ® and Dolby Atmos ® . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Dec 7, 2021

For his feature film directorial debut, director Lin-Manuel Miranda chose to adapt the autobiographical stage musical "tick, tick... BOOM!" by Jonathan Larson — the Broadway phenom behind "Rent," who died so suddenly and tragically in 1996. This film is so clearly a labor of love for Miranda, who took on quite the challenge of adapting this small stage show (often performed by no more than three people) and turning it into a fully realized movie musical with a big cast, elaborate set pieces, and a lush soundtrack worthy of Larson's legacy. We recently sat down with the director along with Tod Maitland the sound mixer, and Paul Hsu, the re-recoding mixer and supervising sound editor for the film, to discuss the unique challenges this production faced — especially considering how they filmed during the Covid-19 pandemic before vaccines were readily available to the cast and crew. "We had to really circle the moments where we were making a decision to sing live, because we had special protocols we had to put in place for the crew's safety. The camera's gotta be a certain distance from the actors. Now, the cameramen are going to wear face shields and like... raincoats! In fact, I think one of the first days, once we started up in September, Andrew got an impulse and he sang live in the room and it wasn't one of my pre-approved moments. And I got to talking to at the end of the day. And I deserved that talking to, because this is about our safety." — Lin-Manuel Miranda, Director and Producer, "tick, tick... BOOM!" Be sure to check out "tick, tick... BOOM!" on Netflix . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 23, 2021

We're turning back the clock to 1984 as we talk about "Ghostbusters: Afterlife" with Supervising Sound Editor & Re-Recording Mixer Will Files and Composer Rob Simonsen. Unlike many modern action-adventure films, this team, led by director Jason Reitman, tried to make everything sound as authentically '80s as possible, eschewing modern sound design and film score aesthetics, in order to give the audience an experience reminiscent of the beloved original film (which happened to be directed by Jason's father, Ivan Reitman). The result is a delightful throwback to the action-comedies of yesteryear. And the three of us absolutely NERD OUT today, as we talk about all the ways they pulled this off, from both a technical and aesthetic perspective. "When Jason [Reitman, the director] and we sat down to talk about the movie, he said, 'You've got to put yourself aside. This is... really about being custodians of what was done." So we had a lot of conversations about that and he said, 'I'm telling every department that that is the mission here. It's not to do what necessarily is, like, cool and modern and hip. This is about discovering the original, keeping it, and - where we can - walking forward, but in the clothes of the original.' So, I think it was really important for Jason to signal to everyone, right at the opening logos: 'We got you!'" — Rob Simonsen, Composer, Ghostbusters: Afterlife Be sure to check out Ghostbusters: Afterlife at a Dolby Cinema near you . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 10, 2021

The latest James Bond film, from director Cary Joji Fukunaga, is a veritable feast of emotion and tone. Along with the requisite jaw-dropping action sequences, the film is chock-full of emotional pathos and tender moments, appropriate for Daniel Craig's sendoff as the titular British super-spy. But also, perhaps surprisingly, some very humorous sequences, as well. With a running time of over 2 and 1/2 hours, the sound team had their work cut out for them, and on a very tight timeline. So how did they manage to craft such an exciting, yet tender, and often hilarious new Bond film under such tough deadlines? Today we sit down with supervising sound editor Oliver Tarney and re-recording mixers Paul Massey and Mark Taylor to find out exactly that. Did they go back in and make changes after the film was "finished?" After all, the release was delayed substantially due to the Covid-19 pandemic. "Sometimes on a really focused tight schedule on a big film there's a certain energy about that. And if you had more time, you could explore more, it can become over-polished. Something a little bit sterile can creep in sometimes. I've been on movies that felt like that a little bit. So there is an energy with everyone just going full-tilt, trying to get something done. And there might be a few little rough edges, but that's part of it. It doesn't feel over-produced. Maybe there would be that danger if you opened it up again and just said, 'we've got all this time.' You start maybe just making it a little bit too sanitized or something. I think it's just got a really good energy about it, the film. And I'm glad it finished when it did." — Oliver Tarney, Supervising Sound Editor, "No Time to Die" Be sure to check out No Time to Die at a Dolby Cinema near you . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Nov 2, 2021

For our 100th episode, we are very pleased to welcome back to the podcast acclaimed director Edgar Wright, along with his frequent collaborators, composer Steven Price and sound designer Julian Slater. We discussed their latest mind-bender of a film, the psychological thriller – featuring ( as Stephen King put it ) "time travel with a twist" — "Last Night in Soho." As always, this team has crafted an incredibly rich soundtrack, this time seamlessly melding sound design, score, and classic hit songs from the 1960s. They accomplished this by beginning work on the film well before filming even began. "The great thing about working with Steve and Julian, and also my editor Paul Machliss, is that we've worked together so much, that it's great to be able to think about those [soundtrack] elements when you're writing, and also to be able to talk to everybody about it before we've shot a frame of the movie. That's an unusual thing to do with a composer, and an even more unusual thing, probably, to do with Julian — to talk to a sound designer about a film where you haven't shot a frame of it yet. But, as with 'Baby Driver' and with this, it's something where I include everybody very early on." — Edgar Wright, Director and Co-Writer, "Last Night in Soho" "It's kind of how it goes with Edgar. As I leave one movie he's talking about three or four possibilities for his next ones. And sound is always entwined in there. And conversations start, even at that point, even as we're finishing the current movie. He's already thinking about the next one. When there's a collaboration that runs as deep as ours does, including Paul [Machliss] as well, it just makes for a great breeding ground of ideas." — Julian Slater, Supervising Sound Editor and Re-Recording Mixer, "Last Night in Soho" The film is now playing in Dolby Cinemas and it is spectacular to experience in Dolby Vision® and Dolby Atmos®, so be sure to get your tickets soon. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Oct 26, 2021

The incredible new adaptation of "Dune," from director Denis Villeneuve, has some astonishing sound work, fully embracing the immersive capabilities of Dolby Atmos®. Creating this soundtrack was a long and painstaking process, which began in pre-production, as Denis took a novel approach by bringing his sound team and composer on board very early in the process. This gave them extra time and creative freedom to unlock some truly next-level artistry on this film. We recently sat down with Denis and his all-star sound team of Mark Mangini, Theo Green, and Ron Bartlett, to discuss this and their approach to this very ambitious project. "[A]t the end of the day, you're not mixing sound, you're mixing an image. It's storytelling. And everything that pulls you away from the screen is bad for me. But with the sound of Atmos, what I like is that I just have the impression that I'm diving INTO the image." — Denis Villeneuve, Director, "Dune" In the US, "Dune" is available to watch in a Dolby Cinema near you and on HBO Max . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Sep 28, 2021

We're taking a few weeks off of our regular posting schedule to put together some exciting new episodes for you. We will be back to our regular schedule at the end of October with our special coverage of "Dune." We recently sat down with director Denis Villeneuve and his all-star sound team, Mark Mangini, Theo Green, and Ron Bartlett, to discuss their approach to this unbelievably ambitious project. This was our first in-person podcast in well over a year and we can't wait to share it with you upon our return. So make sure you are subscribed. You won't want to miss this episode. Also coming up, we have our 100th episode! So, we'll be doing something special to mark that occasion, as well. And in the coming weeks and months, we will have even bigger episodes of the Dolby Institute podcast, including more deep dives into the careers of legendary sound artists and some explorations into a some new terrain for us. We are in the planning stages of our first-ever episodes about some very exciting new video game releases. As you may already know, there is some truly incredible sound work being done in that world, and we can't wait to explore it further with you. So stay tuned for all of that. See you again in late October! And thank you, as always, for listening.

Sep 14, 2021

Today we're speaking with the creators of "Come From Away," the Tony Award-winning Broadway show, and the latest to get a streaming release, this time on Apple TV+. Joining us are the creators and writers of the book, music, and lyrics, David Hein and Irene Sankoff, and director Christopher Ashley. The show is set in the week following the September 11 attacks and tells the true story of what transpired when 38 planes were ordered to land unexpectedly in the small town of Gander, Newfoundland when the US unexpectedly closed its airspace. The characters in the musical are based on real Gander residents as well as some of the 7,000 stranded travelers they housed and fed. If this sounds like a big story, that's because it is. And just how do you pare that down into a tight, Broadway show, with no intermission? It was a challenge: "I feel like one of the first questions you ask about a musical or a film or a play is, "who's the lead?" And ["Come From Away"] doesn't have one. It's got twelve actors playing hundreds and thousands of people. So its emotional event is so spread out. But one of the things we do have that kind of replaces that is the delight of twelve actors transforming. And you come to know those twelve, even despite the fact that they're gonna play many different parts. So the pleasure in theatrical and acting transformation gives us a lot of juice that you wouldn't have with just a lead. And also, there's no villain! But everybody does have this shared trauma around 9/11, if you were old enough to have lived through it. And how you deal with that trauma turns out to be the problem that everyone's trying to solve." — Christopher Ashley, Director, "Come From Away" The musical premiered on Broadway in 2017 and was nominated for seven Tony awards, including Best Musical, Book, and Score, and Christopher Ashley won the Tony for Best Direction. You can watch the filmed version of the Broadway show, right now, on Apple TV+ . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 31, 2021

Dr. Michelle Fournet and Dr. Ellen Garland, the scientists featured in the new Apple TV+ documentary "Fathom," believe the songs of the humpback whales to be perhaps the oldest form of verbal communication between intelligent life on planet Earth. A language and culture which may predate humans' by millions of years. You may think scientific curiosity then set out to decipher this language so that we would be able to communicate with these fiercely intelligent mammals directly. But as it turns out, that is not exactly the point... "I have given a lot of thought to understand why the scientists are doing what they're doing. And the point is — to understand what the whales are saying to each other. And I think there's a number of reasons for that. One of them is ethical — [not] interfering too much with the natural goings on of another species. But two, I think it's, for them, more interesting. [The whales] have a lot more to say to each other than we have to say to them. I think [Dr.] Michelle [Fournet] would say, 'they're saying everything we need to understand. We just need to actually just listen to them. And maybe not talk for once.'" — Drew Xanthopoulos, Director, "Fathom" So just what are the whales saying to each other? And how did the filmmakers convey this foreign language so beautifully through sound and image? We sat down with Director and Cinematographer Drew Xanthopoulos, along with Sound Supervisor and Re-Recording Mixer Brad Engleking of TBD Post, to ask exactly that. Be sure to check out "Fathom" now on Apple TV+ . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 20, 2021

WandaVision was a breakout hit this past year, and it appropriately has a whopping 23 Emmy nominations, including Outstanding Limited or Anthology Series, and more for Writing, Acting, Directing, and a couple of well-deserved nods in the Sound Editing and Sound Mixing categories. And if you've seen the series, it should be clear why — this show mixes stylistic formats in some truly bizarre, but also satisfying, ways. At times it harkens back to the sitcoms of yesteryear — even filming part of an episode live in front of a studio audience, in order to capture an authentic laugh track — and other times like what one would expect from a series taking place in the Marvel Cinematic Universe. So how did the sound team pull all these disparate stylistic elements into such a cohesive and satisfying amalgamation? Well, we sat down with them to ask exactly that. Joining us this week is Danielle Dupre, Re-Recording Mixer and Dialogue Editor (and Daytime Emmy Winner); Kim Foscato, Supervising Sound Editor (and previous Primetime Emmy winner); Gwendolyn Yates Whittle, Supervising Sound Editor and Dialogue Supervisor; and Steve Orlando, Sound Designer. "After I was able to sit down and watch all the episodes, we had a really exciting conversation. Because all of us — combined — we've worked on a fair amount of Marvel features. And we were just so excited to have the opportunity to make it sound a little bit differently than what we would automatically think that direction that Marvel [typically] goes. I remember watching it like a month out before the mix and it just sparked my excitement so much. And I went back and I binged 'Dick Van Dyke' and 'Mary Tyler Moore' and 'Brady Bunch.' And then we started mapping out how things were going to sound, and how they were going to change, throughout the series." — Danielle Dupre, Re-recording Mixer, "WandaVision" You can check out all of WandaVision right now on Disney+ . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 17, 2021

As we continue our coverage of the 2021 Emmy Awards, we recently sat down with the Emmy-nominated editor and sound team for the fantastic nature program / retrospective biography / urgent and dire warning for humanity, "David Attenborough: A Life on Our Planet." The film pulled material from over 50 years of Sir David's career to create what many believed to be his final big documentary. And working on the film was an understandably emotional experience. "The way David likes to do his narration records is — we'll do a complete run through. So that first run through is like watching the film, sometimes. And I have to say, there were several points — and I'm sitting there just recording it, pressing record and sort of watching it through — that I was really choked up, as it's David telling his story. And it was lovely. Afterwards, I came out into the room and he just said, 'thank you.' You know he was obviously moved and touched by the film and just basically said, thank you for making such a great film, which told what he wanted to say, so eloquently. And he was obviously moved by it as, as we all were." — Graham Wild, Dubbing Mixer, "David Attenborough: A Life on Our Planet" We're very pleased to share with you this interview with Editor Martin Elsbury, Supervising Sound Editor (and previous Emmy winner) Tim Owens, and Dubbing Mixer Graham Wild about their process of pulling together such a marvelous film using so much original and archival footage, and making such a moving portrait of a career and a planet on the brink, all in a running time of just under 2 hours. The film has 5 Emmy nominations , including Outstanding Cinematography, Outstanding Picture Editing, Outstanding Sound Editing, Outstanding Sound Mixing, and Outstanding Music Composition. Be sure to check out "David Attenborough: A Life on Our Planet" on Netflix . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 13, 2021

As we begin our coverage of the 2021 Emmy Awards, we're excited to sit down today with Sound Designer, and 3-time Emmy Winner, (and returning guest) Craig Henighan, and Supervising Sound Editor and Dialogue Editor, as well as 4-time Emmy Winner, Brad North — who are nominated again, this time for their incredible work on the Netflix animated anthology series, LOVE DEATH + ROBOTS. They are nominated for Outstanding Sound Editing and the series itself is nominated for Outstanding Short Form Animated Program. And the series is exactly that — Outstanding. So, just how difficult is crafting a sonic landscape for animation? Especially for animation which takes place in a completely alien landscape? And one which utilizes cutting-edge photo-realistic computer animation? As you can imagine, it's very challenging. But also, it turns out, very fun. And you can tell these sound artists had an absolute blast creating a whole new world for their nominated episode, "Snow in the Desert," In Dolby Atmos®. "With no production track, it's literally from the ground up. Which is why animation is so fun. Especially things like this — the world is your oyster, to a certain degree. You've obviously got to follow visuals and you've got to follow story, which is always, ultimately, the biggest point of it all. But within that framework, there is tons and tons of opportunities for sonic details and little things and stuff that you might not even hear on the first watch." — Craig Henighan, Sound Designer, LOVE DEATH + ROBOTS Be sure to check out LOVE DEATH + ROBOTS on Netflix . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 10, 2021

"Nine Days" is an unusual and remarkable film. A kind of supernatural fable about aspiring souls enduring a rigorous interview process in order to get chosen for life. It is an incredible debut from gifted filmmaker Edson Oda, and we are very proud to see this film finally get a theatrical release, as it was a recipient of the Dolby Institute Fellowship, which gives independent films funding to mix their films in Dolby Atmos®. And we couldn't be more pleased with how this film turned out! We recently spoke with writer and director Edson Oda, supervising sound designer Mac Smith, and re-recording mixer Brandon Proctor, about how they managed to craft such a thought-provoking film which asks some of the most provocative questions about existence itself. But it does so in a very subtle way, as the film invites audiences to craft their own interpretations and meanings. This was all very much by design: "As a filmmaker, we always want to give enough [information] and not give more than that. And I'm not just talking about storytelling. I think it's [the same] for sound or images – or anything – when you're telling a story. You want to leave some gaps, so the audience can fill in those gaps with their imagination. I think that's, for the most part, the thing that can happen when someone has contact with any piece of art, or any piece of work, or anything that they see: 'Okay, now I'm going to complete this with my assumptions, with my images, with my history, my imagination.'" — Edson Oda, Director, "Nine Days" The film just entered a wider release, so be sure to check out "Nine Days" in a Dolby Cinema while you still can . Many thanks to our friends at Sony Pictures Classics for giving this film the release it deserves and for helping us pull this conversation together this week. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Aug 3, 2021

Netflix's "The Crown" picked up a whopping 24 Emmy nominations this year, including one for Best Drama Series — which is understandable, considering just how innovative, understated, and tragic the storytelling on that series is. This week, we're speaking with two of the nominees responsible for some of that incredible storytelling, longtime collaborators Yan Miles ACE, the Editor, and Lee Walpole, the Supervising Sound Editor & Re-Recording Mixer. Yan was nominated for editing and Lee for sound mixing the emotionally wrenching "Fairytale" episode from season four, which tells the heartbreaking story of Lady Diana's days from her engagement to Prince Charles up until her wedding day, which by then, it's safe to say, the "fairytale" was over. This episode is like a masterclass in non-verbal storytelling, tone, and subtext as we follow Diana's emotional journey beyond dialogue, by showing us her relationship to things like food, loneliness, silence, and dance. We're delighted to share this conversation with you so you can get a glimpse into just how this talented creative team approaches this very complex subject matter. "I was very mindful of that in the scene, to lean into this innocent, happy, young woman, always. And to always tread very carefully, because it's unusual to watch a film when you know the ending. That's a very unusual sort of storytelling. So I always, always [remembered] that, all the time. What would this young girl be going through, in these experiences? And I imagine any girl around the world, when she is sort of happy or sad, dances around the bedroom to a piece of music! It's relatable, it's hugely relatable. [Lady Diana] just happens to be in this huge, great big room or happens to be roller skating around this huge, great big palace." –Yan Miles ACE, Editor, "The Crown" Be sure to check out the fourth season of "The Crown" on Netflix ahead of the Emmy Awards on September 19th. Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 27, 2021

This week we bring you a remarkable story about how Carlos López Estrada, the director of the Dolby Institute Fellowship winner "Blindspotting," attended a spoken word poetry performance and was so inspired by what he saw on stage, he decided to make a wild, low-budget indie feature capturing some of the magic he witnessed that evening. With the help of Executive Producer Kelly Marie Tran, he turned a chaotic production, written and starring young poets (many of whom were only just out of high school!) into a highlight of the 2020 Sundance Film Festival. We sat down with Carlos, Kelly, and two of the poet writers of the film, Tyris Winter and Marcus James, to discuss how they managed to make such a magical film under such wild circumstances. "There's people [in this spoken word poetry group] from every single neighborhood in LA – as far east, as far west, south valley, everywhere in between. So you were hearing stories all about their relationship to their community, their environment, their families, LA themselves, [and all] as different as could be. But it was all young people talking about existing in the city in 2019, which put them all together into this beautiful package. And that was really sort of how the idea of what this movie could look like. We said it would be one day in LA, it would follow characters from point A to point B, and then they would pass on the torch to the next group. We would find ways for some of them to stick around, some of them would just make one-off interactions. And the only structure that this would have is that these are all young people existing in LA on the same day. And then from there on, we opened up the door for the poets, essentially told them 'you're going to write and you're going to star in your own scene. What do you want to talk about? What is important to you today?' And from then on, it was a madness." — Carlos López Estrada, Director of "Summertime" Be sure to go see "Summertime" in theaters while you still can . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jul 13, 2021

How do I break into the film business? That is the number one question we get asked, so we figured maybe it was time to finally answer it. For the past few months, we've asked some of the top professionals in the fields of cinematography, animation, sound, producing, and directing how they got their start and the answers were surprising even to us! "The world has a way of opening doors and closing doors on you. I basically ended up - through poverty and desperation - back in England as a news sound man, to begin with. Just trying to get a job anywhere I could. And [I] did freelance sound for the American networks for about a year. Which I was actually very, very bad at. And so it was kind of suggested that I do something else. And I kept telling the networks, 'well, I can shoot.' [Then] the Falklands war broke out in 1982 and there suddenly weren't enough cameramen in England to cover it. [So] they very reluctantly - CBS - moved me up to cameraman." —Sean Bobbitt, B.S.C. Many thanks to Sean Bobbitt, Kori Rae, Dan Scanlon, Peilin Chou, Glen Keane, Gennie Rim, Oliver Tarney, Mike Prestwood Smith, William Miller, and John Pritchett for sharing your superhero origin stories with us. If you enjoyed this episode, please let us know. We might just make this a recurring series! You can follow Glenn on Twitter or you can leave us a rating & review on the Apple Podcasts app . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts - https://linktr.ee/dolbyinstitute Connect with Dolby: Visit the Dolby WEBSITE: https://www.dolby.com Like Dolby on FACEBOOK: https://www.facebook.com/Dolby/ Follow Dolby on TWITTER: https://twitter.com/Dolby Follow Dolby on INSTAGRAM: https://www.instagram.com/dolbylabs/ Follow Dolby on LINKEDIN: https://www.linkedin.com/company/dolby-laboratories

Jun 29, 2021

Adapting stage musicals for the cinema is an often tricky process and "In the Heights," the latest adaption from Broadway phenom Lin Manuel Miranda, was no different. Director Jon Chu certainly did not shy away from the epic scale of the theatre production, if anything he made it even grander, which (as you might've guessed) had a number of unique challenges. Primarily, how did they manage to capture the immediacy of the live musical performances and still make it both cinematic and fresh? The production tapped music supervisor Steven Gizicki, who had previously worked on the very successful "La La Land," as well as Miranda's long time collaborator (and former roommate), Bill Sherman, to once again act as music producer, having worked on the stage show since the earliest stages. We recently sat down with Bill and Steven to discuss their process, and it was eye-opening. If you think you know how modern movie musicals are recorded, you may be surprised to learn what all went into making "In the Heights." "The actors are always singing live when they're on set. So we're recording them just as a reference, so we can match lip sync later. It helps... Because there's a difference between 'singing' singing and 'acting' singing. And Melissa [Barrera] would be singing one of the numbers, like 'It Won't Be Long Now' or whatever, and would come to us afterwards. And she's like, 'by the way, if it looks weird on camera, that's because I'm singing totally differently than the pre-record. Note it. I'm going to have to go back and re-record it later.' And we would sometimes get a note from the studio saying, 'Melissa doesn't look like she's lip syncing accurately because it doesn't match the pre-record.' And we'd say, 'well that's the point, because she's acting now and we need to go back and adjust.'" — Steven Gizicki, Music Supervisor, "In the Heights" Be sure to check out "In the Heights" while you still can — ideally in a Dolby cinema near you or on HBO Max through July 11th . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 15, 2021

As games go, chess is maybe not the most exciting thing to watch as a spectator. Its complexities make it difficult for non-experts to truly appreciate. And yet, in Netflix's limited series, "The Queen's Gambit," the filmmakers somehow manage to not only make it exciting, but downright riveting. How did they pull that off? Well, we recently sat down with editor Michelle Tesoro, ACE, and sound designer Wylie Stateman to discuss how they successfully crafted such tense and thrilling scenes which even a non-chess player could follow and, more importantly, enjoy. "Chess is a wonderful game, but it's also sort of a board-level warfare experiment. And you're constantly playing out moves in your head. The way Scott Frank blocked the scenes, you know that we are in Beth's head, or we're in each of the chess players' heads. And that gives us a great opportunity to explore that space. It's a very aggressive game of control – or lack thereof, if you're the losing opponent." — Wylie Stateman, Sound Designer, "The Queen's Gambit If you haven't already, be sure to check out "The Queen's Gambit" on Netflix . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Jun 9, 2021

We're joined today by prolific showrunner and creator Neil Cross and re-recording mixer / supervising sound editor Ron Bochar to discuss their new series "The Mosquito Coast." The show tells the story of a grueling journey of a family on the run and it turns out the production was just as challenging. We discuss some of those challenges (and how they overcame them) along with some insights into how they approached the source material, as this version of the story goes in a very different, but interesting, direction. "We would take an approach that was completely the opposite of what 'The Handmaid's Tale' did, where they started with an adaptation of the novel – what 'Big Little Lies, I guess the same thing – you start with a novel and then expand the world. So we're starting in the expanded universe and we are on a journey to 'The Mosquito Coast.' So our destination is still where we are headed in terms of the story." — Neil Cross, Creator of The Mosquito Coast You can binge the entire first season of The Mosquito Coast right now on Apple TV+ . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 26, 2021

Besides "we'll fix it in post," perhaps the most common joke in film editing suites is, "the music will carry it." Meaning, a film almost always has the score to help with the emotional impact of any given moment. But what about films without a traditional score? That is the case with "The Killing of Two Lovers," a tense new indie drama from director Robert Machoian. But interestingly, the director and sound designer —Peter Albrechsten — instead created a unique sonic soundscape to act as a score, but without what we'd normally consider "music." This week, we sit down with Machoian and Albrechsten to discuss how this experiment went, and why it happened to work so well. "Funny enough, I don't think I explained it very well to Peter [beforehand]. I was teasing him the other day when we were doing the sound mix at Juniper, he looked at me — I think it was like day two — and he's like, 'I'm kind of the composer!' And I realized that I hadn't explained it enough that, 'yeah, you would be.'" — Robert Machoian, Director of "The Killing of Two Lovers" Watch "The Killing of Two Lovers" at a cinema near you or at home on VOD now . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

May 11, 2021

The cult classic "Scott Pilgrim vs. the World" came out just a little over ten years ago, and to celebrate the anniversary, the filmmakers (and Universal Pictures) decided to remaster the film in Dolby Vision and Dolby Atmos for a theatrical and home video re-release this year. Dolby had the privilege of sitting down with the director, Edgar Wright, and the Sound Designer, Julian Slater, to talk about the experience and to find out just how different this new and improved version of the film will be. "Sometimes going back in - remastering something - can be a bit of a chore.... But in this case, it was actually a very sweet reunion... I sat in this theater watching the Dolby Cinema version with the editor of the movie and the sound mixer of the movie, ten years later, and watching it I had like NO notes! It was such a pleasure because it was such an easy experience, because it was like 'well, it sounds and looks better than it ever has done. And what better way to celebrate ten years of this movie?'" — Edgar Wright, Director of "Scott Pilgrim vs. the World" Be sure to check out the 10-year special re-release of "Scott Pilgrim vs. the World" at a Dolby Cinema or home theater near you. You can find more information on the re-release here . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 27, 2021

Short films don't get a lot of attention these days, but it is one of the best opportunities for filmmakers to experiment with new storytelling techniques. Recently, the Dolby Institute was invited to the Aspen Shortsfest, an Oscar-qualifying festival for short films, to run a workshop on sound design. Well, the submissions blew us away with their creativity and techniques, so we wanted to share these conversations with you. There is a lot we can learn from how these filmmakers utilized their sound design to give audiences the subjective experience of the films' protagonists. Unfortunately, these films are not yet available to watch online, but we have clips available in the video version of this podcast, which we will encourage you to check out here: https://youtu.be/HBTixHStmFs We spoke with three filmmaking teams and here's a table of contents in case you'd like to jump around: 00:01:56 - A Broken House, Directed by Jimmy Goldblum 00:17:33 - Ligie, Directed by Aline Magrez with Sound Editor Bruno Schweisguth 00:33:32 - O Black Hole! , Directed by Renee Zhan with Sound Designer Ed Rousseau Many thanks to Aspen Shortsfest for inviting us to the workshop and for allowing us to share these insightful interviews from these incredibly talented filmmakers. You can read more about each of the films featured in this episode on the festival's website . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 13, 2021

We conclude our 2021 Oscars coverage with the nominees for Best Animated Feature! Once again we've invited all of the nominees in this category to speak with us and we are thrilled to share them with you. Here's a table of contents for each interview, along with the names of all the nominees, this time in reverse alphabetical order: 00:01:22 - WOLFWALKERS - Tomm Moore, Ross Stewart, Paul Young, and Stéphan Roelants 00:16:08 - SOUL - Pete Docter and Dana Murray 00:29:00 - A SHAUN THE SHEEP MOVIE: FARMAGEDDON - Richard Phelan, Will Becher, and Paul Kewley 00:42:54 - OVER THE MOON - Glen Keane, Gennie Rim, and Peilin Chou 01:01:52 - ONWARD - Dan Scanlon and Kori Rae Congratulations and many, many thanks to all of the nominees. We'd also like to thank Apple, Pixar, Disney, and Netflix for helping coordinate these interviews and for providing film clips to share. Don't miss these incredible animated films: WOLFWALKERS SOUL A SHAUN THE SHEEP MOVIE: FARMAGEDDON OVER THE MOON ONWARD Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Apr 6, 2021

We continue our 2021 Oscars coverage with the nominees for Best Cinematography! We have once again invited every nominee to join us, and we were very pleased to sit down with three inspiring cinematographers: Sean Bobbitt, Erik Messerschmidt, and Phedon Papamichael. (Unfortunately, the other two nominees, Dariusz Wolski and Joshua James Richards, were unable to find time, as they are on location filming their next projects.) Here's a table of contents, in case you'd like to jump around: 00:01:46 - JUDAS AND THE BLACK MESSIAH - Sean Bobbitt, B.S.C. 00:21:37 - MANK - Erik Messerschmidt, A.S.C. 00:35:23 - THE TRIAL OF THE CHICAGO 7 - Phedon Papamichael, A.S.C. Many thanks to Sean, Erik, and Phedon for joining us and congratulations to all of the nominees! Here they are, once again in alphabetical order: JUDAS AND THE BLACK MESSIAH - Sean Bobbitt, B.S.C. MANK - Erik Messerschmidt, A.S.C. NEWS OF THE WORLD - Dariusz Wolski, A.S.C. NOMADLAND - Joshua James Richards, A.S.C. THE TRIAL OF THE CHICAGO 7 - Phedon Papamichael, A.S.C. We would also like to thank the folks at Warner Bros, Netflix, and the Academy of Motion Pictures Arts and Sciences for helping us pull these interviews together (in record time!) and for all the wonderful film clips. Don't miss these incredible films: JUDAS AND THE BLACK MESSIAH MANK NEWS OF THE WORLD NOMADLAND THE TRIAL OF THE CHICAGO 7 We have one more episode just like this one — for Best Animated Feature — coming up. So if you haven't already, please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Mar 31, 2021

Perhaps unsurprisingly for the Dolby Institute Podcast, we begin our 2021 Oscars coverage with the nominees for Best Sound! This is a very special episode for us because it is the first time we've interviewed all the nominees for a category and edited them together into a single podcast. Our hope is that if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch for and (more importantly) what to listen for as you get to the Best Sound category on your ballot. We had some amazing conversations with each of the teams and we hope you find them as entertaining and as enlightening as we did. Here's a table of contents, in case you'd like to jump around: 00:00:48 - GREYHOUND 00:14:53 - MANK 00:27:01 - NEWS OF THE WORLD 00:43:13 - SOUL 00:58:00 - SOUND OF METAL Congratulations and many, many thanks to all of the nominees! Here they are, once again in alphabetical order: GREYHOUND - Warren Shaw, Michael Minkler, Beau Borders and David Wyman MANK - Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin NEWS OF THE WORLD - Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett SOUL - Ren Klyce, Coya Elliott and David Parker SOUND OF METAL - Nicolas Becker, Jaime Baksht, Michellee Couttolenc, Carlos Cortés and Phillip Bladh We would also like to thank the folks at Apple, Netflix, Universal Pictures, Disney, Pixar, Amazon, and the Academy of Motion Pictures Arts and Sciences for helping us pull these interviews together (in record time!) and for all the wonderful film clips. Don't miss these incredible films: GREYHOUND MANK NEWS OF THE WORLD SOUL SOUND OF METAL For a deeper dive into "Mank" and "Soul," be sure to check out our recent episodes with the directors of those films. And because we got so much good stuff from each of these interviews, we hope to release some of those in their entirety as bonus episodes in the coming weeks. We have two more episodes just like this one — for the Best Cinematography and Best Animated Feature categories — coming up. So if you haven't already, please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Mar 16, 2021

As if filling out an Oscar ballot wasn't challenging enough, 2021 has a ton of rule changes with regards to how the Academy will be voting. Most notably for us here at Dolby, the Best Sound Editing and Best Sound Mixing categories have been combined into one: Best Sound. Today Glenn sits down with Teri Dorman, Kevin Collier, and Scott Millan — the current Board of Governors of the Sound Branch of the Academy of Motion Picture Arts and Sciences — to discuss the rule changes, the controversies these changes stirred up, and — perhaps most importantly — what criteria the Academy might use to vote on this new category. Complicating matters further is the fact that most audiences will be experiencing these films at home, not in a cinema with a state-of-the-art sound system. Whether you're an Oscar voter or an Oscar viewer who wants to do well in your annual office pool, this episode should make filling out your ballot just a little bit easier. "I'd like to think that what we do has been treated in a way that the intent will come across, whether you're listening on a home system that's average or whether you're listening to it in the cinema. And I realize this is very 'pie-in-the-sky,' but I think there is an element that potentially can transcend what it's being played on and hopefully that'll come through. It's something that we all think about and probably toss and turn at night a little bit over because this is going to be a different year." — Kevin Collier, Academy of Motion Picture Arts and Sciences, Board of Governors, Sound Branch Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Mar 2, 2021

At Pixar, just about everyone's a critic. And that is one of the reasons why they continue to raise the creative bar with every film they release. Pete Docter, the director of "Soul" and CCO of Pixar Animation Studios joins us along with the film's producer, Pixar veteran Dana Murray, to discuss the challenges of making such an incredible animated feature, including their exhaustive development process, which takes place simultaneously while the film is being animated and edited. And if that wasn't challenging enough, this film features one of the most difficult character designs they'd ever come up with. Thanks to our friends at the Film Society of Lincoln Center and the New York Film Festival, Glenn was able to sit down with Pete and Dana to answer this essential question: How does Pixar continue to meet these exceedingly high challenges they set for themselves? "Every three months, we get it in front of as many people as we could fit in our theater, which is like 240 people or something. And we get a lot of notes, and we tear it all down, and we start the whole entire process over. And on this film, we had time to do that seven times." - Dana Murray, producer of "Soul" Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 16, 2021

We are always delighted when independent filmmakers get access to our technologies because they tend to use these tools in such fascinating and creative ways. Very often in ways, we'd never imagined. Dolby Vision® and Dolby Atmos® are often perceived as tools for big-budget, tentpole action movies, which is why we created the Dolby Institute Fellowship, in partnership with the Sundance Institute: To give access to these technologies to filmmakers working with indie budgets. This year's recipients, both of which just had their premieres at the 2021 Sundance Film Festival, are "Passing," a haunting film about race in 1920's America by first-time director Rebecca Hall, and "Users," an elegiac documentary about the overwhelming prevalence of technology in the world around us by MacArthur "Genius Grant" recipient Natalia Almada. These absolutely stunning films use high dynamic range video and immersive sound in such intimate, almost personal ways, Glenn was excited to sit down with the directors to discuss their processes. "My film plays a lot with scale and kind of disorienting you. Are you underwater? Is it small? Is it big? And Dolby Atmos gives you the ability to do that sonically. So that small thing suddenly fills the space and envelops you." —Natalia Almada, Director of "Users" Shortly after this conversation, there was some exciting breaking news! Natalia Almada won the Sundance j ury prize for Best Direction: Feature Documentary for "Users." And Rebecca Hall's "Passing" was acquired in a very big deal — which is especially exciting for us because now viewers will be able to experience this incredible film in Dolby Vision® and Dolby Atmos® on Netflix . Check out additional highlights from the 2021 Sundance Film Festival . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 9, 2021

"Mank" has been a personal passion project for David Fincher for several decades now. His own father wrote the script, about the famously self-destructive writer of "Citizen Kane," and Fincher was determined to make the film feel as authentic as possible. Almost like it was an undiscovered artifact from Hollywood's "Golden Age," insisting for years to film it in black & white, 1:33, and in mono. He once again joined forces with his longtime collaborator, sound designer Ren Klyce, to do exactly that. But building this time capsule turned out to be a surprisingly challenging process. “It’s beyond production value. Sound is a portal into a stranger’s mind that is incredibly influential. And if we don’t avail ourselves of this access, um... then we’re stupid and we should die (laughs).” – David Fincher, director of "Mank" Check out "Mank" on Netflix . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 2, 2021

Because of the ongoing COVID-19 pandemic, this year’s Sundance Film Festival is entirely virtual. But what exactly does a virtual film festival look like? Glenn sits down with Keri Putnam, CEO of the Sundance Institute, Tabitha Jackson, the brand new director of the Sundance Film Festival, and Michelle Satter, director of the Sundance Labs, to answer all these questions and more. It’s a fascinating conversation about not just the challenges of hosting the Sundance Film Festival in 2021, but also the new opportunities this situation may have uncovered. Indeed, this year could become the road map for the future of The Institute, The Labs, and The Sundance Film Festival itself. “It was such a privilege to be trusted with this incredible thing that is the festival. And so I approached it like holding this precious metal. And I must not break it. I'm going to carry it with two hands. I must not break it. [Then] the pandemic hit. And it was clear that, oh, I've got to break it. I've got to break it into pieces so that we can rebuild something to meet the moment.” - Tabitha Jackson, Sundance Film Festival director Buy tickets to the 2021 Sundance Film Festival . Please subscribe to Sound + Image Lab: The Dolby Institute Podcast wherever you get your podcasts . You can also check out the video for this episode. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jan 29, 2021

You've found us! The Dolby Institute Podcast has moved! And we have a brand new title: Sound + Image Lab: The Dolby Institute Podcast Please subscribe to our new dedicated podcast feed right here, or wherever you get your podcasts . Our next episode will be our FINAL episode on the old Soundworks feed, so please subscribe to this new feed straight away, as we have many exciting improvements coming in 2021. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Sep 16, 2020

Dolby recently co-presented a panel at the Television Academy Foundation with some of this year’s sound nominees. We’ve added some clips to the conversation. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Aug 15, 2020

Join us as we dive deeper into the actual process and tips for HDR and WCG color grading as well as the full Dolby Vision metadata creation and trim pass. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Aug 14, 2020

The filmmakers discuss how to communicate the subjective experience of your main character using sound and tips for hiring and working with your sound team. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Aug 6, 2020

Learn about the origins of Dolby Vision® and how Dolby helped change the game for immersive cinema and home entertainment. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jul 30, 2020

The sound team discusses making the ultra-Orthodox community feel authentic and using sound for flashbacks to reveal the details of Esty’s story. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jul 23, 2020

The sound team talks about creating the show's fantastic sounds, including a terrifying mirror room and whispering keys that only children can hear. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jul 16, 2020

The sound team takes us through creating the sonic environments of riverboat casinos and basement dungeons, and how they build tension throughout season 3. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jul 9, 2020

The sound team talks about setting the acoustic tone of the series, Fincher’s mix notes and unique approach to the sound of serial killer interrogation scenes. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jul 9, 2020

The creative team discusses adapting the live show into the cinematic world and how Dolby Atmos® gives home audiences a transformative theatrical experience. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jun 25, 2020

The sound team discusses mixing the show natively in Dolby Atmos® and the challenges of finishing post-production as the world went into COVID-19 lockdown. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jun 18, 2020

Bonnie Wild, re-recording mixer and sound effects editor of the Star Wars show from Disney+, talks about cinematic scale and production value on a TV budget. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jan 30, 2020

Academy Award-winning production sound mixer ( Ad Astra , Once Upon a Time... in Hollywood ) discusses how to keep your cool on a tense movie set. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jan 29, 2020

The Oscar®-nominated sound team how they recreated 1969 Los Angeles and why Tarantino chooses to use songs rather than a traditional musical score. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jan 28, 2020

The Oscar®-nominated sound editors discuss working with director J.J. Abrams, recording lines in Adam Driver’s closet, and working on previous Star Wars films. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jan 27, 2020

The seven-time Academy Award-winning sound designer discusses using subliminal ambiences, manipulated vocal loops, and strategically used distortion. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jan 24, 2020

The Oscar®-winning sound team discusses ensuring that even background chatter is historically realistic and the importance of on-set sound for creating tension. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jan 22, 2020

The Oscar®-winning sound team discusses how they made a long, race car sequence sound interesting and other challenges in the film which won Best Sound Editing. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Jan 22, 2020

The Oscar®-winning sound team discusses how they used impressionistic sound design to get inside Arthur Fleck’s mind and capture a gritty 1970s Gotham City. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 26, 2019

In this episode, we talk about the attempts made to de-age the sound of the actors’ voices and the challenges of building the film’s minimalist soundtrack. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 24, 2019

Lucasfilm design supervisor James Clyne shares how J.J. Abrams reimagined the X-Wing fighter and how they researched and built various Death Star interiors. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 19, 2019

Co-sound supervisors, Matthew Wood and David Acord, share nearly two decades of Star Wars experience including audio restorations of the original films. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 10, 2019

The filmmakers, composer, and sound team discuss how they used sound design and music to create the perilous, uncomfortable world of Adam Sandler’s character. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Nov 26, 2019

The picture editor and sound team for the Elton John biopic, discuss the film’s unique blend of pre-recorded music, live singing on set, and post-recorded songs. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Nov 11, 2019

The sound team talks about carving out moments for internal character sounds to come through and tracking down the original cars to keep the film sounding real. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Nov 5, 2019

The show’s sound mixers explain how they created the sound of faerie wings and why Dolby Atmos® was part of the series’ sound concept right from the beginning. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Oct 29, 2019

Join the sound team for a discussion about keeping creature sounds fresh and new, and delivering cinema-quality sound on an episodic schedule and budget. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Oct 22, 2019

Find out why Wall-E’s voice made some people cry and about the role of subjective sound in creative storytelling in this talk with some of film's sound legends. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 19, 2019

The co-directors and producer discuss how the Oscar®-nominated team achieved the complex visual design of the film and the role of sound in their storytelling. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 18, 2019

The Oscar®-nominated sound-mixing team discusses how doing impulse responses in each of the venues let them recreate the sound of the arenas in post-production. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 17, 2019

The writer/director and his Oscar®-nominated sound artists discuss the detailed work that went into re-creating the Mexico City of his 1970s childhood. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 15, 2019

The Oscar®-nominated team discusses how the film’s documentary-look influenced the soundscape, and how the sound underpinned the danger of early space flights. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 14, 2019

The Oscar®-winning sound team discusses how sound design helped to get inside Freddie Mercury’s head and recreate the famous 1985 Live-Aid concert. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 13, 2019

The Oscar®-nominated sound artists discuss building the soundscape for a “silent” movie and creating a monster who hunts and navigates using only its hearing. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 12, 2019

The Oscar®-nominated sound artists talk about the influences behind the sound design of Wakanda technology and constructing the fight scenes in a waterfall. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 11, 2019

The writer/director and producer of this Oscar®-nominated film discuss returning for the sequel and the fight scene between baby Jack-Jack and the raccoon. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 12, 2018

Composer and supervising sound editor talk about integrating African music into a symphonic score and sound design for futuristic Wakanda technology. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 11, 2018

The sound artists talk about grabbing crowd scenes between sets at music festivals, and how Bradley Cooper wasn’t your typical first-time director. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 10, 2018

Director Josie Rourke explains how the desire to tell “better versions of our history” gave her purpose with this story, and the importance of silence. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Nov 26, 2018

Oscar®-winning sound artist, Skip Lievsay, talks about his work on Alfonso Cuarón’s epic black-and-white film about his own childhood in 1970s Mexico City. Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 27, 2018

In this compilation episode, we talk with the sound artists behind Baby Driver, Blade Runner 2049, The Shape of Water, Star Wars: The Last Jedi , and Dunkirk . Check out the video for this episode. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 26, 2018

The Oscar®-winning sound team behind Christopher Nolan’s film, explain how the carefully engineered track builds and maintains tension for the entire movie. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 21, 2018

The Oscar®-nominated sound artists talk about the challenges and opportunities of joining an already-established sound universe while adding their own spin. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 19, 2018

The Academy Award®-nominated artists behind Guillermo del Toro’s The Shape of Water share how the creature’s sound design evolves over the course of the film. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 15, 2018

The Oscar®-nominated sound team behind Blade Runner 2049 talks about how they paid homage to the iconic original film while breaking new sonic ground. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 14, 2018

Oscar®-nominated sound artists discuss the challenges of mixing the crafted sound design and dialogue to blend with a driving music track in Baby Driver . Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 21, 2017

Burwell and Lievsay talk about their 30-year collaboration with the Coen Brothers, spanning 17 films, including Raising Arizona and No Country for Old Men . Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 15, 2017

After a four-film collaboration (from Cloverfield to War for the Planet of the Apes ), the creative team discusses sound challenges in their work. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 14, 2017

This creative pair ( Darkest Hour, The Soloist, Pan ) talk about using sound to build worlds, and Wright shares how London’s rave scene affected his use of sound. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 8, 2017

Join boundary-pushing director, Aronofsky with his longtime sound supervisor Henighan, discussing their work on Requiem for a Dream , Black Swan , and mother! Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 8, 2017

Join boundary-pushing director, Aronofsky with his longtime sound supervisor Henighan, discussing their work on Requiem for a Dream , Black Swan , and mother! #Dolby #DolbyInstitute #RequiemForADream #BlackSwan #mother! #Filmmaking #DarrenAronofsky Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 7, 2017

Triple Oscar®-winner Richard King discusses his remarkable collaboration with Christopher Nolan, from The Prestige to Dunkirk . Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 5, 2017

Talented creative duo Wright and Slater chat about their remarkable five-film collaboration, from Shawn of the Dead to Baby Driver . Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 13, 2017

This team of Oscar®-studded sound artists talk about working on Michael Bay’s film, nominated for Best Sound Mixing, including the film’s chaotic battle scenes. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 13, 2017

Two-time Academy Award® winner Alan Murray (Best Sound Editing) discusses his 37th film collaboration with director Clint Eastwood. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 13, 2017

What does it take to create the sound for a contemporary movie musical? La La Land ’s Academy Award®-winning and nominated sound artists share their stories. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 13, 2017

Academy Award® nominated sound artists discuss their work on Mel Gibson’s film including the challenges of using period-accurate weaponry. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 13, 2017

Renée Tondelli (Academy Award® nominee for Best Sound Editing with Wylie Stateman) discusses the sound design of Peter Berg’s film. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 13, 2017

Sylvain Bellemare (Best Sound Editing) and Bernard Gariépy Strobl (Best Sound Mixing) discuss the unique challenges of building Arrival’s alien soundscapes. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 14, 2016

Fellow sound designers Randy Thom and Chris Foster pose questions to Walter Murch, and we discuss the state of cinema sound before and after Apocalypse Now . Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 14, 2016

Triple Academy Award®-winner Walter Murch ( Apocalypse Now, The Godfather ) answers questions from fellow sound designers, Ren Klyce and Gary Rydstrom. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 13, 2016

Writer/director Ryan Coogler, composer Ludwig Göransson, and sound designer Steve Boeddeker discuss their use of sound and music in Creed and Fruitvale Station . Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Dec 6, 2016

Radiolab creator and co-host, Jad Abumrad, talks about how he uses music as a metaphor to explore abstract topics, and telling complex stories without words. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Sep 26, 2016

Legendary Foley artist John Roesch ( E.T. , Back to the Future , Inception ) discusses his impressive career and why Foley can't come from an effects library. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Sep 26, 2016

Visual artist Sophie Clements and her sound design/music collaborator Jo Wills discuss how they use sound and images to instill wonder, awe, and seduction. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Sep 26, 2016

Tim Gedemer, one of the most experienced virtual reality sound artists reveals why traditional filmmakers tend to stumble in their first VR experiences. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Sep 26, 2016

Leading Broadway sound designer Nevin Steinberg discusses his work on hit shows including Hamilton , Bright Star , The Full Monty , and Spamalot . Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 20, 2016

Academy Award® nominees Lon Bender and Martín Hernández discuss their BAFTA-winning work on The Revenant and recording Foley on real snow (with horses!). Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 20, 2016

Oscar®-nominated sound artists Mark Mangini and David White, talk about the challenges of managing such an epic production, and the use of silence in chaos. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Feb 20, 2016

Two-time Academy Award® winner Alan Murray, discusses how low-end sound can heighten tension and his 40-year collaboration with Clint Eastwood. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Sep 29, 2015

Emmy® award-winning sound designer Daniel Colman ( Battlestar Galactica and Marvel's Agents of S.H.I.E.L.D. ) shares why musicians make the best sound designers. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Sep 22, 2015

In this episode, two-time Academy Award® nominee Gwen Yates Whittle reveals why director George Lucas thinks dialogue editing is one of the most important parts of the process. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Sep 15, 2015

Ten-time Academy Award® nominee Anna Behlmer talks about being one of the first female mixers in the movie business and how to handle a nervous director. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Sep 7, 2015

Sound designer/mixer Coll Anderson discusses the role that creative post-production sound can serve in telling non-narrative stories. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Aug 31, 2015

Explore gaming sound design with Rob Krekel and Phillip Kovats of Naughty Dog Studios, one of the world’s most successful video game production houses. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .

Aug 25, 2015

Randy Thom, director of sound design at Skywalker Sound, discusses how writers and directors can use sound to tell their stories, and the importance of Apocalypse Now to modern sound design. Subscribe to the Dolby Institute Podcast. Learn more about the Dolby Institute and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn . Movie buff? Follow Dolby Cinema on Instagram .