Sound and image are incredibly powerful tools for storytelling. Join Dolby Institute 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 songs.
Inspiring anecdotes from Academy Award-nominated filmmakers about their humble beginnings.
How do I break into the film business?
That is the number one question we get asked, so we figured maybe it was time to finally answer it. For the past few months, we've asked some of the top professionals in the fields of cinematography, animation, sound, producing, and directing how they got their start and the answers were surprising even to us!
"The world has a way of opening doors and closing doors on you. I basically ended up - through poverty and desperation - back in England as a news sound man, to begin with. Just trying to get a job anywhere I could. And [I] did freelance sound for the American networks for about a year. Which I was actually very, very bad at. And so it was kind of suggested that I do something else. And I kept telling the networks, 'well, I can shoot.' [Then] the Falklands war broke out in 1982 and there suddenly weren't enough cameramen in England to cover it. [So] they very reluctantly - CBS - moved me up to cameraman."
—Sean Bobbitt, B.S.C.
Many thanks to Sean Bobbitt, Kori Rae, Dan Scanlon, Peilin Chou, Glen Keane, Gennie Rim, Oliver Tarney, Mike Prestwood Smith, William Miller, and John Pritchett for sharing your superhero origin stories with us.
If you enjoyed this episode, please let us know. We might just make this a recurring series! You can follow Glenn on http://twitter.com/glennkiser (Twitter) or you can leave us a rating and review on the https://podcasts.apple.com/us/podcast/sound-image-lab-the-dolby-institute-podcast/id1549901182 (Apple Podcasts app).
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Modern musical adaptations are not nearly as straightforward as you may think.
Adapting stage musicals for the cinema is an often tricky process and "In the Heights," the latest adaption from Broadway phenom Lin Manuel Miranda, was no different. Director Jon Chu certainly did not shy away from the epic scale of the theatre production, if anything he made it even grander, which (as you might've guessed) had a number of unique challenges. Primarily, how did they manage to capture the immediacy of the live musical performances and still make it both cinematic and fresh?
The production tapped music supervisor Steven Gizicki, who had previously worked on the very successful "La La Land," as well as Miranda's long time collaborator (and former roommate), Bill Sherman, to once again act as music producer, having worked on the stage show since the earliest stages. We recently sat down with Bill and Steven to discuss their process, and it was eye-opening. If you think you know how modern movie musicals are recorded, you may be surprised to learn what all went into making "In the Heights."
"The actors are always singing live when they're on set. So we're recording them just as a reference, so we can match lip sync later. It helps... Because there's a difference between 'singing' singing and 'acting' singing. And Melissa [Barrera] would be singing one of the numbers, like 'It Won't Be Long Now' or whatever, and would come to us afterwards. And she's like, 'by the way, if it looks weird on camera, that's because I'm singing totally differently than the pre-record. Note it. I'm going to have to go back and re-record it later.' And we would sometimes get a note from the studio saying, 'Melissa doesn't look like she's lip syncing accurately because it doesn't match the pre-record.' And we'd say, 'well that's the point, because she's acting now and we need to go back and adjust.'"
— Steven Gizicki, Music Supervisor, "In the Heights"
Be sure to check out https://www.intheheights-movie.com/ ("In the Heights") while you still can — ideally in a Dolby cinema near you or https://www.hbomax.com/in-the-heights (on HBO Max through July 11th).
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88 - How to Make Chess Riveting to Watch - The Queen's Gambit
There's nothing boring about this series, which was quite the accomplishment.
87 - Showrunner Neil Cross and Ron Bochar on The Mosquito Coast
It's an inspiring story about overcoming tremendous obstacles, for both the narrative and the production.
86 - Sound Design as Score in The Killing of Two Lovers
The Sundance Film Festival hit takes a unique approach to its soundtrack, eschewing a traditional musical score in exchange for an experimental sound design. But does the experiment pay off?
85 - Edgar Wright and Julian Slater re-release Scott Pilgrim vs. the World
Find out what's new as the director and sound designer reminisce about this updated version of one of their most beloved films.
Not all podcasts have migrated
All episodes from Sound Works Collection were going to be migrated however the current list is spotty. I’m waiting for my favorite episode from 2/2017 to be copied over.
good in theory!
great concept! i love the intention of this podcast and have learned a lot but the older episodes are SO hard to listen to. the host talks over and constantly interrupts the women he has on, asking questions and then practically answering for them. meanwhile he lets the men ramble themselves to oblivion. could be much more respectful. i have yet to listen to newer material so (hopefully) this may have changed