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âSing Singâ â an independent feature film now in theaters â made a big splash at last yearâs Toronto International Film Festival. Directed by Greg Kwedar, the film is notable for its unique casting approach, blending actors such as Colman Domingo with real-life, formally incarcerated individuals. Itâs set in the Sing Sing Correctional Facility in New York, focusing on the prisonâs theater troupe. But one of the most interesting aspects of the production was how it was financed. And in particular how it used a profit-sharing model where all crew members, including those non-professional actors, received a share of the film's profits. Todayâs discussion details how exactly that financing strategy worked, as well as the inspiring journey to getting the film made.
Joining todayâs discussion:
- Carlos LĂłpez Estrada - Moderator
- Valerie Bush - Moderator
- Greg Kwedar - Producer, Director, and Writer, Sing Sing
- Clint Bentley - Producer and Writer, Sing Sing
- Monique Walton - Producer, Sing Sing
Be sure to check out Sing Sing, now playing in theaters.
This is another installment of our ongoing âSatellite Sessionsâ series, which weâre bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.
Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
Antigravity Academy
CAPE (Coalition of Asian Pacifics in Entertainment)
For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Multi-platinum mixer and engineer Richard Chycki joins us to dive deep into his work with legendary rock bands such as Aerosmith, Alice Cooper, Dream Theater, Mick Jagger, and, of course, the iconic Rush. Richard has been at the forefront of immersive audio with his Dolby AtmosÂź mixes of Rush classics like âMoving Picturesâ and âSignals,â building upon his original surround mixes.
In this conversation with guest host Ben Givarz, Richard shares his process for respecting the creative intent of these timeless tracks while adapting them to Dolby Atmos, ensuring an immersive experience that translates seamlessly across various playback systems. He delves into how Dolby Atmos allows him to emphasize the sonic nuances of Geddy Lee's voice and bass, Alex Lifeson's intricate guitar work, and Neil Peart's legendary drumming, all while maintaining the integrity of the original recordings. Plus, he offers his insights into the future of music mixing, and his excitement for new, original compositions being created in Dolby Atmos from the ground up.
This interview is part of our new series, "Reimagining the Classics."
âOne of the things about a technology like Dolby Atmos is it gives producers, mixers, engineers and artists a new way to express, creatively. A lot of the work I do is in mixing. And for me, rather than trying to reinvent ways to cram bigger and bigger sessions into two speakers, I now have a lot more real estate to work with. And that's gratifying. And it gives me a lot of new creative energy.â
âRichard Chycki, Audio Engineer and Mixer
You can listen to these and many other classic and contemporary albums in Dolby Atmos, on enabled streaming services.
You can learn more about Richard Chycki and his incredible mixing career here.
Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start!
- Dolby Atmos Music Accelerator: https://www.dolby.com/institute/music-accelerator/
- Dolby Atmos Essentials Course: https://learning.dolby.com/
- Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on our YouTube channel.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Mix engineer Ryan Ulyate joins us to dive deep into his work with the late, great Tom Petty, including his Dolby AtmosÂź mixes of Petty's âHighway Companionâ solo album, âWildflowers & All The Restâ Deluxe Edition, âTom Petty & The Heartbreakers Greatest Hits,â and the iconic âLive at the Fillmore 1997.â
Ryan has been a recording engineer and producer for over 40 years, with credits on over 120 albums, and has been at the forefront of immersive audio for over 20. In this conversation with guest host Ben Givarz, Ryan shares his journey of sifting through hours of multi-track tapes to create those incredible new immersive mixes, as well as his theories, best practices, and the creative process behind bringing a fully immersive experience to life in Dolby Atmos.
This interview is part of our new series, "Reimagining the Classics."
âWhat I realized about Dolby Atmos was that it's not something you do to overwhelm people. It's just something that allows you to put [the listener] in the space of where the music was being made⊠You can create more drama and get people really inside the music and create these little moments. I think that I've always looked at music visually. I just always see a picture when I'm mixing. And this just broadens the scope so much more. And it gives you such an emotional connection when it works. And that's all that the musicians that I've respected, and I've worked with, ever wanted. Just to find a great way - the best way - for people to connect with their music.â
âRyan Ulyate, Record Producer and Mix Engineer
You can listen to these and many other classic and contemporary albums in Dolby Atmos, on enabled streaming services.
Be sure to also check out Ryan Ulyateâs Grammy AwardÂź-nominated album âAct 3,â in Dolby Atmos:
- Apple Music
- Amazon Music
- TIDAL
- Immersive Audio Album
You can learn more about Ryan and his incredible mix studio here.
Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start!
- Dolby Atmos Music Accelerator: https://www.dolby.com/institute/music-accelerator/
- Dolby Atmos Essentials Course: https://learning.dolby.com/
- Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on our YouTube channel.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on
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Bob Clearmountain and Rhett Davies, legends in the world of music recording, production, and engineering, join guest host Ben Givarz to delve into the process of transforming Roxy Music's iconic album "Avalon" and Bryan Ferry's platinum record "Boys and Girls" into Dolby AtmosÂź.
They dive deep into the background of the recording and engineering processes they used on these and other legendary Roxy Music records in the 70s and 80s, as well as how they used the original multi-tracks to go from 5.1 mixes in the early 2000s, onto these incredible new Dolby Atmos mixes.
This interview is part of our new series, "Reimagining the Classics."
âIt was a lot more complicated than what either of us had remembered from the original mixes. But still, it's always an adventure and I love a challenge. Especially when the music is great. This music, I still listen to it all the time. It's such a pleasure to listen to and to work with. I mean, we were in heaven.â
âBob Clearmountain, Record Producer and Mix Engineer
You can listen to these and many other classic and contemporary albums in Dolby Atmos, on enabled streaming services.
Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start!
Dolby Atmos Music Accelerator: https://www.dolby.com/institute/music-accelerator/
Dolby Atmos Essentials Course: https://learning.dolby.com/
Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/
You can learn more about Bob Clearmountain and his incredible mix studio here.
And be on the lookout for his next collaboration with Bryan Ferry, the recently announced:
Bryan Ferry "Retrospective: Selected Recordings 1973-2023."
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on our YouTube channel.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Nominated for 13 Primetime Emmy AwardsÂź, âRipley,â the new Netflix limited series from creator Steven Zaillian, is a masterclass in filmmaking and the art of sound. So itâs no wonder that two of those nominations are for Outstanding Sound Editing and Sound Mixing. And itâs clear why the sound team was given so much creative freedom to explore the sonic possibilities of the show, as many of those details and nuances were written directly into the scripts, and overseen by a showrunner with a sharp attention to detail.
âWithout a doubt, Steve Zaillian pays attention to every footstep and every breath and every movement.â
âMichael Barry, Re-recording Mixer, âRipleyâ
Today we are joined by members of the sound team behind the show, including:
- Larry Zipf, Co-supervising Sound Editor/Sound Designer and Re-recording Mixer
- Michael Feuser, Co-supervising Sound Editor
- Michael Barry, Re-recording Mixer
- Maurizio Argentieri, Sound Mixer
NOTE: This interview contains spoilers! So be sure to check out âRipley,â now streaming on Netflix in Dolby VisionÂź and Dolby AtmosÂź, before listening.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on our YouTube channel.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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How Hollywood studios work and operate can be mystifying, especially for emerging filmmakers. Luckily, Dolby Institute Fellowship winner Carlos Lopez Estrada returns for another of his excellent Satellite Sessions (this one from December), featuring executives from some of the biggest studios in the entertainment industry, all to help de-mystify how they, and the studios, find, develop, and produce their projects.
Joining the discussion are:
- Vanessa Morrison, President of Streaming, Walt Disney Studios Motion Picture Production
- Mika Pryce, Senior Vice President of Production, Paramount Pictures
- Sheila Walcott, Senior Vice President of Creative Development, Warner Bros. Entertainment
- Ryan Jones, Senior Vice President, Production Development, Universal Pictures
- Tara Duncan, President, Onyx Collective
This is another installment of our ongoing âSatellite Sessionsâ series, which weâre bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.
Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
Antigravity Academy
CAPE (Coalition of Asian Pacifics in Entertainment)
For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Pulitzer Prize-winning and Emmy- and Grammy-nominated composer Michael Abels joins our guest host, music journalist Jon Burlingame, to discuss the music of âStar Wars: The Acolyte.â The music for the series was a massive undertaking, made even more formidable by the knowledge that every cue would be compared to the work of legendary composer John Williams. But as a longtime fan of âStar Wars,â Abels jumped into the project eagerly.
âI'm one of those people who saw the original trilogy in the theater, so I've grown up with âStar Warsâ and with the music of John Williams⊠I think every fan actually has an assessment of what makes âStar Warsâ âStar Wars.â So Leslye [Headland, creator and showrunner] and I talked about that⊠And we quickly aligned on that the music of âStar Wars,â while it's not necessary that it be old-school or traditional or orchestral, that's something that we both valued. And so it was our intention to have the score be very traditional in places where it called for that and where that would work. And at the same time, there are definite ways in which this series explores new ground. It's all new characters. There's a method to the storytelling that's distinctly Leslyeâs own. And so in those places, the score does what it needs to do to bring this new element to the story.â
âMichael Abels, Composer, âStar Wars: The Acolyteâ
Be sure to check out âStar Wars: The Acolyte,â now streaming on Disney+.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Academy AwardÂź-nominated director (âRaya and the Last Dragonâ) â and Dolby Institute Fellowship winner â Carlos LĂłpez Estrada brings together another exciting panel of film professionals. As one of the producers, Carlos joins fellow Academy AwardÂź-nominated director (âNai Nai & WĂ i PĂłâ) Sean Wang, along with members of the cast and crew, to discuss the herculean task of bringing their independent film âDĂŹdi (ćŒćŒ)â to life.
âItâs such a difficult thing to make your first personal film. Itâs so impossibly difficult. And I think you really need to know thatâs what you want to do. And if, in the depths of the night, you ask yourself, âis this what I must do?â And if the answer comes out to be yes⊠then I think you adjust everything in your life in accordance with that goal. Itâs just something you must do. If you get enough money, you make it bigger. If you donât get enough money, you still make it. You make it a little more intimate. I think itâs just that necessity⊠to tell this story⊠We make narratives, essentially, to save ourselves.â
âJoan Chen, Actor, âDĂŹdi (ćŒćŒ)â
Todayâs panel also includes:
- Sean Wang - Director, Writer, Producer
- Izaac Wang - Actor (âChris Wangâ)
- Joan Chen - Actor (âChungsing Wangâ)
- Valerie Bush - Producer
- Sam Davis - Director of Photography
and Moderator
- Carlos LĂłpez Estrada - Producer
âDĂŹdi (ćŒćŒ)â was a recipient of the Dolby Institute Fellowship Award, our grant program for exceptional independent films to finish in Dolby VisionÂź and Dolby AtmosÂź. And we couldnât be more proud of this film, even before it went on to win the U.S. Dramatic Audience Award at the 2024 Sundance Film Festival.
Be sure to check out âDĂŹdi (ćŒćŒ)â in theaters this Friday, July 26!
Wide release on August 16th.
This discussion was another edition of Antigravity Academyâs Satellite Sessions â 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 â co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment).
Learn more about Antigravity Academy:
https://antigravityacademy.co/
Learn more about CAPE â The Coalition of Asian Pacifics in Entertainment:
https://www.capeusa.org/
Be sure to follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks, wherever you get your podcasts.
You can also check out the video for this and all our episodes on YouTube.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Perhaps the top colorist in his field, Stefan Sonnefeld joins us for our 200th episode!
If you arenât aware of Stefan, youâve almost certainly seen his work. Some of his recent projects include âTop Gun: Maverick,â âThe White Lotus,â and âGuardians of the Galaxy, Vol. 3.â His credit list includes some of the biggest franchises in our business, including âStar Wars,â âStar Trek,â âJurassic Park,â âPirates of the Caribbean,â âTransformers,â and many more. Just a few of the A-List directors and producers he has worked with are: Tony Scott, Ridley Scott, Michael Mann, Martin Scorsese, Zack Snyder, Tom Cruise, Michael Bay, Bradley Cooper, Steven Zaillian, Spike Jonze, Gore Verbinski, Tim Burton, Matt Reeves, JJ Abrams, George Clooney, Tony Gilroy, and Judd Apatow.
So what does it take to be a top colorist in Hollywood, working for some of the biggest personalities in the business?
âWell, it's not just the director, it's a lot of people now⊠So it's a team sport. Everybody plays a part in it. And it's why it's so enjoyable for me. You have to involve a lot of people, but in general, the director, let's say that's the main person. You have to have a good relationship with that person and you have to be able to interpret what they're saying and get that onto the screen. And to do it quite quickly too, because it's a lot of effort and work and money that goes into these projects. And some people talk in technical terms. And some people, like a Michael Mann for instance, talk through emotions. Like, âHey, [the character is] very this [way] in the scene. And he's feeling this. And this is what's going to happen. And this is what just happened. And therefore this is what I want.â And I'm sort of interpreting that, in a color way, and [Iâll] put it on the screen and he'll be like, âgreat, that's it!â Or, âno, that's not what I meant. It should be this.ââ
âStefan Sonnenfeld, Senior Colorist, Founder and CEO, Company 3
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
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Documentary filmmaker Lance Oppenheim, as well as sound supervisor and re-recording mixer Paul Hsu, join us to discuss their new HBO documentary limited-series, âRen Faire.â The show details the Succession-like power struggle atop the Texas Renaissance Festival, amid its founderâs impending retirement. It was filmed in an appropriately over-the-top theatrical style, and features some incredible sonic world-building, which â in true Lance Oppenheim style â very cleverly mixes real and fantastical elements... often leaving the line between the two quite grey.
âI've always been obsessed with Abbas Kiarostami's movies and âClose-Up,â which is very formally different than this, but the idea with that film was embracing reenactments, embracing performance, as a form of truth. And to me, with this project, everything you're seeing on the screen is real. But I wanted to also acknowledge that the moment you drop a camera anywhere, you violate the reality. So it's absurd. All of it's absurd. Documentary filmmaking is absurd. Nonfiction storytelling is absurd. So if we can acknowledge that, can we push past it and find something new?â
âLance Oppenheim, Director, Writer, and Executive Producer, âRen Faireâ
This conversation was recorded in-person, in front of a live audience at Dolbyâs screening room in mid-town Manhattan, as part of our ongoing collaboration with the Artist Academy and Film at Lincoln Center.
Be sure to check out âRen Faire,â with all three episodes now streaming on Max.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Academy AwardÂź-nominated director (âRaya and the Last Dragonâ) â and Dolby Institute Fellowship winner â Carlos LĂłpez Estrada brings together another panel of working filmmakers and creatives, this time to discuss the hot button issue of AI in Filmmaking.
Joining the discussion are:
- Jorge R. Gutierrez (Filmmaker - âThe Book of Life,â âMaya and the Threeâ)
- Isa Mazzei (Filmmaker - âCam,â âHow to Blow Up a Pipelineâ)
- Paul Trillo (Filmmaker, Visual Artist - âThe Hardest Partâ music video for Washed Out)
- Dave A. Liu (Producer/Financier - âDĂŹdi (ćŒćŒ),â âSasquatch Sunsetâ)
- Dave Clark (Filmmaker, Futurist, Educator)
- Joe Penna (Filmmaker - âStowawayâ)
âI see all of it as inevitable. And lot of things that are being put out there are frankly, I find, just not that provocative or interesting. And I think AI is being used in a very lazy way, which is totally fine. But, if you have the discipline and if you have the experience, you can take that experience use this tool as a way⊠to discover these ideas that you probably wouldnât have made otherwise.â
âPaul Trillo, Filmmaker and Director of âThe Hardest Partâ music video
Be sure to check out Paul Trilloâs controversial Sora-generated music video for Washed Out, âThe Hardest Part.â
This is another amazing conversation which is part of our ongoing âSatellite Sessionsâ series, which weâre bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.
Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
Antigravity Academy
CAPE (Coalition of Asian Pacifics in Entertainment)
For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Andrew Garfield, Cynthia Erivo, Andrew Scott, and Tom Hardy are just a few of the celebrity voice actors in the new Audible Original adaptation of âGeorge Orwellâs 1984.â But this adaptation is unique in that it is audio-only â not unlike a radio play. In doing so, writer Joe White had to translate the novel, which was written from a third-person perspective, and put the audience completely into Winstonâs POV. And the creative team needed to rely purely on audio to do all the world-building, without the advantages of visuals or an omniscient narrator. But, as it turns out, the experience came quite naturally for director Destiny Ekaragha.
âIt wasn't as different as I thought it was going to be, actually⊠It is pure directing, in a way. Because when you're directing on set, you have to consider everything. The color of the curtains, the clouds, and the sky. Everything. Which is great and amazing. But here, it was just pure, one-on-one with the actor, which is my favorite part of my job. Directing actors. So I was like, wait, this is nice. I really like this. I'm not thinking about anything else. I really love that.â
âDestiny Ekaragha, Director, âGeorge Orwellâs 1984â
You can experience âGeorge Orwellâs 1984â on Audible in Dolby AtmosÂź, which fully immerses the listener into this chilling, dystopian world.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
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Blockbuster film composer Tom Holkenborg â aka Junkie XL â returns to George Millerâs post-apocalyptic dystopian world with his latest installment, âFuriosa: A Mad Max Saga.â
Regular guest host Jon Burlingame joins the podcast to discuss Holkenborgâs hands-on approach to crafting the music for this film, which included an unusual addition to his typical job of composer.
âTo find the right language for this film from a first-person perspective⊠I was able to be one of the re-recording mixers on this film, being responsible to mix the final results of the film that now people will hear in the theater, alongside [re-recording mixer] Rob Mackenzie. I don't know a film that has been mixed by a composer⊠at least in the years that I've been working in the film industry. To be able to take this on with George [Miller] and with Rob Mackenzie was just an amazing eight-week experience, to really get into the complete details. It's like, âhow do you want the music to sound? How is it going to be spaced in an incredible Dolby Atmos theater? And how are you using all the speakers? How much do you push the music? And how do you create perfect handoffs with the sound design, working in conjunction together?â It was such a fascinating experience.â
âTom Holkenborg, Composer and Re-recording Mixer, âFuriosa: A Mad Max Sagaâ
Be sure to check out âFuriosa: A Mad Max Saga,â now playing in Dolby CinemasÂź, in Dolby VisionÂź and Dolby AtmosÂź.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
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One of the reasons behind the immense popularity of this hit multiplayer roleplaying game is its incredible soundtrack. Today, we are joined by the Audio Director of Larian Studios â the makers of âBaldurâs Gate 3â â Stefan Randelshofer, along with our guest host, Dolbyâs Senior Game Developer Relations Manager, Alistair Hirst, in a live discussion from this yearâs Game Developers Conference, to discuss what went into creating the rich, sonic atmosphere of the video game.
âThere is a complete architecture for 3D audio that allows you to listen to 3D audio objects. You can make that work automatically and you can facilitate those 3D audio objects and that gives you so many chances to be more immersed in what you're doing. In a world like Baldurâs Gate, there's so much stuff going on. In the city, when people talk around you. You have a cool combat â if you have one of the spells fly by. So it really gives you the perspective of being there. Therefore, that was the reason for me to go into this Dolby setupâ
âStefan Randelshofer, Audio Director, âBaldurâs Gate 3â
Be sure to check out âBaldurâs Gate 3â, available on PC, Steam, and consoles.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Showrunners D.B. Weiss and David Benioff â co-creators of âGame of Thronesâ â and Alexander Woo (âTrue Bloodâ) join us to talk about their epic new science fiction series: â3 Body Problemâ on Netflix.
Rounding out the discussion are:
Director of Photography Jonathan FreemanSound Designer Paula FairfieldSupervising Sound Editor Tim KimmelEditor Michael RuscioThe show is based on a series of bestselling books by Liu Cixin â which, famously, have been described as âunadaptableâ to film & TV, due to the complexities of particle physics, which are at the heart of the premise of the story.
âWe're not physicists. So we needed to â first and foremost â put it in language that we understood. And luckily, we had a good amount of help doing this. Both the books themselves are written for people who are not scientists, and we had Matt Kenzie, our physics advisor, and Bobak Ferdowsi, our JPL space and rocketry advisor, who helped us translate. We listened to them answer our questions. We listened to them answer the castâs questions. And the way they explain things to people like us gave us a template for the way we could explain things to the people watching. And one thing you do have is you have imagery which can really â even if you don't entirely understand all the explanation and scientific logic behind what you're seeing â give you a flavor for what it means and how it feeds into the story that you're seeing.â
âD.B. Weiss, Co-Showrunner, Executive Producer, and Writer, â3 Body Problemâ
Be sure to check out â3 Body Problem,â in Dolby Atmos and Dolby Vision, on Netflix.
Please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts.
You can also check out the video for this episode.
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The collaboration between director and cinematographer is arguably the most important dynamic on any film shoot. Here to discuss that are Director Kobi Libii and Director of Photography Doug Emmett, with their satirical comedy, âThe American Society of Magical Negroes.â
âTo me, the best versions of most collaborative things are the things you get to and you're like, âwait, was that your idea or was that my idea? I can't remember.â And there's a million like this⊠where I'm like, âoh, I really thought you pitched that to me.â And he's like, âno, no, I thought you pitched that to me!â Because it's not my idea or Doug's idea. Or my process or my vision or Doug's vision. It's a thing that gets made in the space between us, that is of the story, and of the characters, and of what this thing that we're building between us is.â
âKobi Libii, Director and Writer, âThe American Society of Magical Negroesâ
This conversation was a live webinar as part of the Dolby Instituteâs partnership with Sundance Collab, the digital platform from the Sundance Institute designed for filmmakers, with exclusive webinars, curated resources, and free educational videos.
âThe American Society of Magical Negroesâ was a winner of the Dolby Institute Fellowship, which grants independent films with the funds to finish in Dolby Vision and Dolby Atmos, and we were very proud to finally watch the completed film when it premiered at the 2024 Sundance Film Festival before it was released in theaters by Focus Features.
Be sure to check out the film, now available to rent in Dolby Vision and Dolby Atmos on video streaming services.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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This week we discuss the sound, music, and cinematography of âMasters of the Air,â the epic WWII limited series from Apple TV+. With so many films and shows about World War II over the past several decades, one of the biggest challenges of the series was keeping things fresh. So the creative teams took some ingenious approaches to give every episode and action sequence a unique look, sound, and feel.
âBecause there's so much time spent in the air with these planes, and so many different planes, we really wanted to sell the geography of each location within each plane and also each and every different plane. So one of the ways that we did that was that Mike [Minkler] and I had the different sequences cut by different people, with a fresh take. Or I did this particular sequence, and then I would hand it off to another editor. Or they would do that, and then pass it to me. And so we had a lot of interplaying around with each other's material, which I think keeps it really fresh, whilst not just copying and pasting material. When you have this much time in the air, you really need to keep the listener involved and their ear kind of excited at all times.â
âJack Whittaker, Supervising Sound Editor, âMasters of the Airâ
Joining our conversation:
- Supervising Sound Editor Jack Whittaker
- Re-recording Mixer Duncan McRae
- Re-recording Mixer Michael Minkler
- Composer Blake Neeley
- Cinematographer Jac Fitzgerald
Be sure to check out âMasters of the Airâ on Apple TV+.
Please subscribe to Dolby Creator Talks, wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Recorded live at the 2024 Sundance Film Festival, Academy AwardÂź-nominated director (âRaya and the Last Dragonâ) â and Dolby Institute Fellowship winner â Carlos LĂłpez Estrada brings together another all-star panel of Hollywood talent, this time posing the question: Is âNo Budget Filmmakingâ even possible in this day and age?
âThere's just so much pressure on a film and on a filmmaker that has nothing to do with the film being good, or them arriving at their artistic voice. I've worked on zero-dollar budgets, I've worked recently on $150 million budgets. And the problems on both ends of the spectrum are exactly the same. Your energy and your attention goes to so many places that have nothing to do with the actual movie, have nothing to do with the art, because of the capitalistic requirements of us, as artists. And if we really care about art and we really care about cinema⊠We have to change the way we talk about cinema⊠We want to advance the medium and we want to have a discourse around film that is not just, âdid you like it? Did you hate it? Did it make money?ââ
âJustin Simien, Film & Television Producer, Writer, and Director
Todayâs panel includes independent filmmakers:
- Bao Nguyen (The Greatest Night in Pop, Be Water)
- Rishi Rajani (The Chi, Being Mary Tyler Moore, A Thousand and One)
- Justin Simien (Dear White People, Bad Hair, Hollywood Black)
Once again, this discussion was part of Antigravity Academyâs Satellite Sessions â 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 â co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment).
Many thanks to the co-presenter of this panel, MACRO: âa multiplatform media company representing the voice and perspectives of Black people and persons of color.â
Learn more about MACRO:
https://www.staymacro.com/
Learn more about Antigravity Academy:
https://antigravityacademy.co/
Learn more about CAPE â The Coalition of Asian Pacifics in Entertainment:
https://www.capeusa.org/
Be sure to follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks, wherever you get your podcasts.
You can also check out the video for this and all our episodes on YouTube.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
#LoveMoreInDolby
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2-time Academy AwardÂź-winning composer Hans Zimmer joins us on the podcast to discuss his work on âDune: Part Two,â 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:
âThese 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 â I loved them all â 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 âAlienâ or âStar Wars.â They're phenomenal things. But I saw my duty very much as going beyond that.â
âHans Zimmer, Composer, âDune: Part Twoâ
Be sure to check out âDune: Part Two,â now in theaters, in Dolby VisionÂź and Dolby AtmosÂź, where available.
Donât miss our previous episode this week, with âDuneâ 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.
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Academy AwardÂź-winning Director of Photography Greig Fraser, ACS, ASC, returns to the podcast to discuss his work on âDune: Part Two.â 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:
âWhenever 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, âdream bigger.â 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.â
âGreig Fraser, ACS, ASC, Director of Photography, âDune: Part Twoâ
Be sure to check out âDune: Part Two,â now in theaters, in Dolby VisionÂź and Dolby AtmosÂź, where available.
Donât miss our upcoming episode with âDuneâ 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.
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