Dolby Creator Talks

Dolby

Join the Dolby Creator Lab director Glenn Kiser in conversation with the artists who are using image and sound technologies creatively in some of your favorite films, TV shows, video games, and music.

  1. 5시간 전

    279 -The Sound of Guillermo del Toro's Frankenstein

    This week we sit down with the Oscar-nominated sound team behind Guillermo del Toro’s “Frankenstein,” to explore the film’s epic and deeply expressive soundtrack. Sound designer and supervising sound editor Nathan Robitaille, supervising sound editor Nelson Ferreira, re-recording mixer Brad Zoern, and production sound mixer Greg Chapman break down their long-standing collaboration with del Toro and the bold creative choices that shaped the film’s sonic identity. From early sound exploration and practical effects to dynamic use of Dolby Atmos® and the creation of the film’s unforgettable creature voice, this conversation offers a deep dive into how sound drives the emotion, scale, and storytelling in one of the year’s most ambitious films. “Guillermo is really, really great about wanting to fill the space. This comes from working with him for a long time. We were able to anticipate all this stuff. There's moments where he wants the concentration on the screen and he wants to pull everything back in the room. Dolby Atmos allows us to do that so beautifully and separate stuff and make it where we can focus. This movie lends itself to Atmos… It's just such a great tool and it was so much fun on this mix to use all that. We have such a beautiful visual to work with. We have to meet that standard with the sound.” —Brad Zoern, Re-recording Mixer, “Frankenstein” Be sure to check out “Frankenstein,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®. Our previous episodes: Guillermo del Toro and D.P. Dan Laustsen on the Cinematography of Frankenstein The Music of Frankenstein with Composer Alexandre Desplat 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.

    53분
  2. 1월 12일

    278 - The Sound of Sinners

    The sound of “Sinners” is bold, immersive, and essential to the film’s emotional power — a standout achievement that has earned the film a spot on the shortlist for Best Sound at this year’s upcoming Academy Awards®. We’re joined by re-recording mixer and sound designer Steve Boeddeker, supervising sound editor Benny Burtt, re-recording mixer Brandon Proctor, and production sound mixer Chris Welcker to break down how they layered music, dialogue, and sound design to shape the film’s mood, rhythm, and storytelling, including that incredible sequence conjuring musical spirits from the past and the future. “This comes back to Ryan being bold and taking big swings. From the effects standpoint, this was obviously a big music moment, so we were doing whatever we could to not mess it up. We started by being very specific with anything we cut, and anything we cut, we cut in rhythm with the music… And then Ryan really just wanted to be in Sammy’s head, so it ended up being effects getting out of the way almost entirely, with just a few moments standing out.” —Benny Burtt, Supervising Sound Editor, “Sinners” Be sure to check out “Sinners,” now streaming on HBO Max, in Dolby Vision® and Dolby Atmos®. Also, be sure to catch our previous episode about the music of “Sinners,” with Two-time Academy Award-winning composer Ludwig Göransson and Executive Music Producer Serena Göransson on YouTube. Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

    56분
  3. 1월 9일

    277 - The Sound of Sirât, with Director Óliver Laxe

    After winning the Cannes Jury Prize in 2025, “Sirât” has been added to the shortlist of potential nominees for Best Sound at this year’s upcoming Academy Awards®, a rare achievement for an international feature film. We are delighted to welcome acclaimed filmmaker Óliver Laxe, sound designer & supervising sound editor Laia Casanovas, re-recording mixer Yasmina Praderas, and production sound mixer Amanda Villavieja to talk to us about how they crafted such an immersive and visceral track for this powerful film. “We wanted to make a genre film inspired by American cinema from the ‘70s…. I come from underground cinema, from documentary. I like reality. I’m quite an orthodox filmmaker. But we wanted to make a genre film. We wanted to make a popular film. We wanted to transcend the cinephile audience. So I was afraid. The proposition [from sound designer] Laia [Casanovas] was, ‘let’s make a sound that was crispy. That you really feel it. We are having an experience in the cinema.’ I like when you go to a theater and you feel with your body, with your skin. The images, the sound — that was the goal… I’m really happy because it’s not just a film, thanks to the sound. It’s a ceremony.” —Óliver Laxe, Director, Writer, Producer, “Sirât” Be sure to check out “Sirât” in Dolby Atmos®, where available. The film will be in theaters in New York and LA on Friday, February 6, followed by a nationwide rollout later in February. 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.

    37분
  4. 2025. 12. 30.

    276 - Oasis in Dolby Atmos, featuring Mix Engineer Ryan Hewitt

    GRAMMY Award®-winning producer, mixer, and engineer Ryan Hewitt joins us from his Nashville studio to discuss re-mixing the entire Oasis catalog in Dolby Atmos®. We dive into his journey from learning the craft from his father, to engineering the Red Hot Chili Peppers’ Stadium Arcadium with Rick Rubin, to building his own Stratmosphere Studios. Ryan shares insights on Dolby Atmos mixes for artists like Noah Kahan, his meticulous work preserving the power and legacy of Oasis’ iconic albums, and his experience seeing their long-awaited 2025 reunion tour at Wembley. “The idea was to honor the original mixes, note for note, as much as possible. We couldn't do electron for electron in the console, but close enough. But it has to be, it's just gotta be great. That's all there is to it. You know, I wasn't there. I don't know exactly how everything was done. But I've made enough records that I can listen to it intently for a long time, many times, and figure out how it was done. Some of the songs, some of the records, we had notes for. Which were very helpful. And others we didn't even have track sheets for. So it was a really incredible audio archeology project.” —Ryan Hewitt, Dolby Atmos Mix Engineer, Stratmosphere Studios Stay connected! - You can listen to the Oasis catalog as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services. - Follow Oasis on Instagram. - Follow Ryan Hewitt on Instagram. - Learn more about Ryan Hewitt and Stratmosphere Studios. Interested in creating content in Dolby Atmos? Check out our FREE resources to give you a jump start! - Dolby Atmos Music Accelerator: https://www.dolby.com/creator-lab/music-accelerator/ - Dolby Atmos Essentials Course: https://learning.dolby.com/ - Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/ Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

    1시간 8분
  5. 2025. 12. 22.

    275 - Bradley Cooper and the Sound of Is This Thing On?

    Writer, director, and producer Bradley Cooper joins us to discuss the sound of his latest film, “Is This Thing On?” Audio became a primary storytelling tool in shaping the film’s deeply subjective point of view. In conversation with the film’s sound team, the director breaks down how perspective, texture, and restraint were used to place audiences directly inside the emotional experience of a man discovering stand-up comedy as his marriage unravels. For Cooper, that approach ultimately comes back to how films are meant to be experienced in theaters. “It’s really about the theatergoing experience — how you best tell the story in these rooms, in this theatrical space. And to me, I haven’t seen a better version than those two elements: Dolby Vision and Atmos. When Stefan [Sonnenfeld] and I colored the Dolby Vision, it was like, ‘Oh — there’s the movie.’ And when you do it in Atmos, in terms of mixing sound… the immersive experience — it’s just a whole different experience than a 5.1 mix. It’s not even in the same universe… And once you go there, you can never go back. I watched a movie the other night that wasn’t in Atmos, and I couldn’t stop imagining what it could be.” —Bradley Cooper, Writer, Director, Producer, “Is This Thing On?” Joining today’s conversation: - Bradley Cooper, Director, Producer - Dane A. Davis, Supervising Sound Editor - Tom Ozanich, Re-recording Mixer - Dean A. Zupancic, Re-recording Mixer Be sure to check out “Is This Thing On?,” now in theaters. Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

    1시간 3분
  6. 2025. 12. 18.

    274 - The Immersive Sound of South of Midnight

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

    53분
  7. 2025. 12. 11.

    272 - Darren Aronofsky and D.P. Matthew Libatique on the Cinematography of Caught Stealing

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

    44분

소개

Join the Dolby Creator Lab director Glenn Kiser in conversation with the artists who are using image and sound technologies creatively in some of your favorite films, TV shows, video games, and music.

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