Sveriges 100 mest populära podcasts
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.
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/9frtE4gEoy8Apple Podcasts - https://podcasts.apple.com/gb/podcast/118-best-cinematography-nominees-academy-awards-2022/id1549901182?i=1000554057034Spotify - https://open.spotify.com/episode/6OqK3Gl6rZcmfA6heBRYZa117 - The Cinematography of The Batman
YouTube - https://youtu.be/S2GkwC6neiUApple Podcasts - https://podcasts.apple.com/si/podcast/117-the-cinematography-of-the-batman/id1549901182?i=1000553525163Spotify - https://open.spotify.com/episode/5J1z9srezZiiAEAHln0GCpLearn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 (?N?i 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.
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.
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.
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 InstitutePaola Mottura - Film Fund Director at Sundance InstituteJandiz Estrada Cardoso - Director of the Sundance Institute Episodic ProgramAna Souza - Manager of the Programming Department and Programmer at Sundance InstituteAdam Piron - Director of Sundance Institute's Indigenous ProgramOnce 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.
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.
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.
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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.
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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?
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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.
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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.
CAPE (Coalition of Asian Pacifics in Entertainment)
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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.
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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.
CAPE (Coalition of Asian Pacifics in Entertainment)
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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:
?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:
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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.
CAPE (Coalition of Asian Pacifics in Entertainment)
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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®.
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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/
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?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.
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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:
CAPE (Coalition of Asian Pacifics in Entertainment)
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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.
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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
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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.
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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®.
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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?
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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?
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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?
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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.
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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.
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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.
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.
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
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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.
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.
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.
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.
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.
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.
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.
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 Prá?il, 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 DirectorLars Ginzel ? Re-recording MixerViktor Prá?il ? Production Sound MixerFrank Kruse ? Sound Supervisor and Sound DesignerUnfortunately, nominee Stefan Korte (Re-recording Mixer) was unable to join us at the time of this recording0:22:49 - AVATAR: THE WAY OF WATER - from episode 140, January 14, 2023
Christopher Boyes ? Re-recording Mixer, Supervising Sound Editor, and Sound DesignerDick Bernstein ? Supervising Sound EditorMichael Hedges ? Re-recording MixerJulian Howarth ? Production Sound MixerGwendolyn Yates Whittle ? Supervising sound editorUnfortunately, 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 ? DirectorMichael Giacchino ? ComposerWilliam Files ? Supervising Sound EditorDouglas Murray ? Supervising Sound EditorAndy Nelson ? Re-recording MixerUnfortunately, 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 MixerWayne Pashley ? Re-recording Mixer, Sound Designer, and Supervising Sound EditorMichael Keller ? Re-recording MixerAndy Nelson ? Re-recording Mixer1:39:20 - TOP GUN: MAVERICK - from episode 133, November 22, 2022
Joseph Kosinski ? DirectorBjørn Schroeder ? Supervising Sound EditorJames H Mather ? Supervising Sound EditorAl Nelson ? Supervising Sound EditorChris Burdon ? Re-recording MixerMark Taylor ? Re-recording MixerUnfortunately, 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...
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.