Sound + Image Lab: The Dolby Institute Podcast

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.

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.

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.

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.

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 DoechiiStay 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 InstagramInterested 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.

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 DesignerBe 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.

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 AcademyCAPE (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.

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.

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 FounderJoining 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 EducatorLearn 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.

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 AcademyCAPE (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.

Table of Contents: CINEMATOGRAPHY01:38 - “The Brutalist” - Lol Crawley02:52 - “Dune: Part Two” - Greig Fraser04:36 - “Emilia Pérez” - Paul Guilhaume06:48 - “Maria” - Ed Lachman09:08 - “Nosferatu” - Jarin BlaschkeORIGINAL SCORE10:29 - “The Brutalist” - Daniel Blumberg11:18 - “Conclave” - Volker Bertelmann13:04 - “Emilia Pérez” - Clément Ducol and Camille14:20 - “Wicked” - John Powell and Stephen Schwartz15:39 - “The Wild Robot” - Kris BowersSOUND18:06 - “A Complete Unknown” - Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco19:41 - “Dune: Part Two” - Gareth John, Richard King, Ron Bartlett and Doug Hemphill20:57 - “Emilia Pérez” - Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta22:59 - “Wicked” - Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis24:26 - “The Wild Robot” - Randy Thom, Brian Chumney, Gary A. Rizzo and Leff LeffertsThis 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, 2025YouTube: https://youtu.be/d342-st5dvgSpotify: https://open.spotify.com/episode/0Txxk3xNAcmItPwsm9GquPApple 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, 2024YouTube: https://youtu.be/39p8wPkhmtMSpotify: https://open.spotify.com/episode/5WMtD1WbGGVBgrlQtSFzONApple 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, 2024YouTube: https://youtu.be/VZruPNqHv3wSpotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2Apple 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, 2025YouTube:

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.

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.

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.

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.

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.

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.

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.

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. VincentYou 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.comTo learn more about Just For The Record Studios, go to:https://justfortherecord.comPlease 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.

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 EngineerThis 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.

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 MixerBe 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.

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, CAAThis 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 AcademyCAPE (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.

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 EngineerYou 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.

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 ProducerDamian 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 EditorBe 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.

“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 EditorBe 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.

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 MixerBe 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.

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 MixerFollowing 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.

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 MixerThis 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.

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 – SongwriterBe 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.

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.

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.

“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 EditorBe 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.

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 EngineerSpecial 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.

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 PicturesThis 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 AcademyCAPE (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.

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 AcademyCAPE (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.

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.

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.

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 - Oskar 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.

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 EditorBe 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.

“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 EngineerYou 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/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.

“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 SingBe 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 AcademyCAPE (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.

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 “2112,” “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 MixerYou 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.

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 EngineerYou 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 AlbumYou 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

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 EngineerYou 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.

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 MixerNOTE: 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.

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 CollectiveThis 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 AcademyCAPE (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.

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.

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 Photographyand 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.

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 3Please 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.

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.

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 videoBe 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 AcademyCAPE (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.