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Nine-time GRAMMY Award®-winning audio engineer Mick Guzauski and Robert Guzman, audio engineer at Studio DMI, join guest host Ben Givarz to discuss their work reimagining Daft Punk's iconic album “Random Access Memories,” in Dolby Atmos® for its 10th Anniversary Edition.
Mick takes us back to the album’s original recording sessions, sharing how he and Daft Punk meticulously crafted the sound that went on to win Album of the Year in 2013. Robert adds his perspective on adapting the record to Dolby Atmos, a process that opened up new spatial dimensions while staying true to the album's artistic intent.
This interview is part of our music series, "Reimagining the Classics."
“You could do a lot more analysis of it from Atmos by separating channels and things, but I think Dolby Atmos added to the experience of the album. There's so much going on in parts of that album that I think Atmos was a big, big improvement, a big benefit for some of those really dense parts to separate and to be in their own space.”
—Mick Guzauski, Audio Engineer
You can listen to Daft Punk’s “Random Access Memories (10th Anniversary Edition)” as well as many other classic and contemporary albums in Dolby Atmos, on enabled streaming services.
Interested in creating content in Dolby Atmos? Check out our free resources to give you a jump start!
- Dolby Atmos Music Accelerator: https://www.dolby.com/creator-lab/music-accelerator/
- Dolby Atmos Essentials Course: https://learning.dolby.com/
- Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/
Learn more about Robert Guzman and Studio DMI here:
https://www.studiodmi.com/
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You can also check out the video for this episode.
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Visionary director Robert Eggers joins forces with acclaimed sound artist Damian Volpe to deliver a stunning reimagining of the classic vampire tale “Nosferatu.” In this episode, Eggers and Volpe take us behind the scenes to discuss how they used cutting-edge sound design and Dolby Atmos® to create a truly terrifying and immersive experience. From the spectral sounds of Count Orlok’s castle to the brilliant use of silence and dynamic range, this conversation unpacks the intricate audio techniques that make the film so unforgettable.
“I mean, it begins even before [the first scene] with the quote-unquote logo animations. [We] recreated silent film-style logos… with audio analog hiss and some wind, which morph into each other. You know, I think these horror film cold openings that end with a jump scare, when they’re done successfully… keep you on edge of your seat for the rest of the film because… you know that anything’s possible.”
—Robert Eggers - Director, Writer, and Producer, “Nosferatu”
Joining today’s conversation:
- Damian Volpe - Sound Designer, Supervising Sound Editor, and Re-recording Mixer
- Robert Eggers - Director, Writer, and Producer
Damian Volpe also wanted to thank his fellow team members:
- Steve Little - Sound Supervisor
- David Giammarco - Re-recording Mixer
- Michael Fentum - Sound Designer
- Heikki Kossi - Foley Artist
- Shelley Rodin - Foley Artist
- Joel Raabe - Foley Editor/Mixer
- Grace Wong - Assistant Sound Editor
- Tim Hands - ADR Editor
- Samir Foco - Sound Effects Editor
Be sure to check out “Nosferatu” in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®, when it premieres in the U.S. on December 25th.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
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“Maria,” the latest film from director Pablo Larraín, offers a mind-bending exploration of the life and final days of legendary opera singer Maria Callas, with Angelina Jolie delivering a transformative performance. To bring her world to life, the acclaimed sound team faced the unique challenge of blending iconic original recordings of Callas with actual, live performances from Jolie, who trained extensively to sing opera at a professional level.
“We absolutely went into this with the idea that Angelina was gonna do this live… She called it ‘face singing,’ because it's so unnatural. It's not a pop song in your shower or in your car where you kind of just go along with it. It's constantly changing tempos and dynamics; that's super hard to reproduce. I mean, what she did was incredible to even begin to approach this.”
—Mac Ruth, Production Sound Mixer, “Maria”
From live on-set vocal performances to intricate post-production layering, the team reveals their cutting-edge techniques for weaving together these extraordinary performances into a seamless auditory experience.
Joining today’s discussion are:
- Lars Ginzel – Re-Recording Mixer
- Mac Ruth – Production Sound Mixer
- Gwennolé Le Borgne – Sound Designer
- John Warhurst – Supervising Sound Editor
Be sure to check out Maria, now playing in select theaters and streaming on Netflix in Dolby Vision® and Dolby Atmos® starting December 11th.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
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The director and sound team join us to discuss their work on the new Bob Dylan biopic, “A Complete Unknown,” covering the cast’s extraordinary performances, how they recreated those iconic original recordings, and why it took so long to bring this film to the screen, after being greenlit five years ago.
Joining the conversation:
- James Mangold, Director, Co-Writer, and Producer
- Ted Caplan, Supervising Music Editor
- Tod Maitland, Sound Mixer
- Donald Sylvester, Supervising Sound Editor
- Paul Massey, Re-Recording Mixer
Be sure to check out “A Complete Unknown” in theaters in Dolby Vision® and Dolby Atmos®, when it premieres in the U.S. on December 25th.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
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Director Jon M. Chu joins us, alongside the brilliant editing and sound team behind “Wicked,” the hit movie musical based on the beloved Broadway show.
Joining the discussion:
- Jon M. Chu – Director
- Myron Kerstein – Editor
- John Marquis – Supervising Sound Editor, Sound Designer, Re-Recording Mixer
- Nancy Nugent Title – Supervising Sound Editor
- Jack Dolman – Supervising Music Editor
- Andy Nelson – Re-Recording Mixer
Following our previous episode on the music of “Wicked,” this conversation dives deep into the film’s innovative sound design, immersive mixing, and groundbreaking visual storytelling. Hear how the team seamlessly integrated sound, music, and picture to bring the world of Oz to life as well as how the live recordings brought authenticity and spontaneity to the performances, creating magical moments that could only happen on set.
"Some of the moments that we got in the movie were only because of the live [recordings]. There were moments that went viral... if we had tried to record that, Steven Schwartz would’ve killed that in one second in the recording... But by that point [on set], [Ariana Grande] was riffing, she was Glinda. Or even in 'I’m Not That Girl.' That beginning of it is just so delicate, that Cynthia’s just barely singing coming in. And when she starts to do those riffs... that’s the magic, actually, that happened."
—Jon M. Chu, Director, “Wicked”
Be sure to check out “Wicked,” now playing in theaters, in stunning Dolby Vision® and Dolby Atmos®.
And don’t miss last week’s episode featuring Stephen Schwartz and the music team behind “Wicked,” now on YouTube!
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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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NOTE: This interview contains spoilers!
Academy Award®-nominated filmmaker RaMell Ross and his acclaimed sound and music team join us to discuss the making of “Nickel Boys.” In adapting Colson Whitehead’s Pulitzer Prize-winning novel, Ross employed first-person cinematography to draw audiences directly into the emotional and physical experiences of the film’s protagonists in a completely immersive way. This innovative approach created unique challenges for the sound team.
“I know before we make the film that the sound is going to be deeply complex… Dan [Timmons] worked so long on this thing because it's so subjective… You can go too far [with the sound]… in a way in which it's so abrasively rendered, that it pushes you away.”
—RaMell Ross, Co-Writer and Director, “Nickel Boys”
Joining the discussion are:
- RaMell Ross – Co-Writer and Director
- Alex Somers – Composer
- Scott Alario – Composer
- Tony Volante – Supervising Sound Editor and Re-Recording Mixer
- Daniel Timmons – Supervising Sound Editor and Re-Recording Mixer
This conversation was recorded as a live panel discussion after a screening of the film at the New York Film Festival. It was part of Dolby’s support for the FLC Artist Academy program, which brings conversations about the art and craft of filmmaking to the next generation of directors:
https://www.filmlinc.org/academy-programs/artists-academy/
Be sure to check out Nickel Boys, in limited theatrical release starting December 13th, by Amazon MGM Studios.
Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.
You can also check out the video for this episode.
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The groundbreaking musical “Emilia Pérez,” which captured the Jury Prize at Cannes, is redefining the movie musical genre. Directed by the visionary Jacques Audiard, the film explores identity, transformation, and redemption with a powerful ensemble cast. From the vibrant choreography of its musical numbers to its daring and surreal visual style, “Emilia Pérez” is a boldly original film. Join us as we dive behind the scenes with the creative team to uncover how this extraordinary film was brought to life and how it all came together as a successful musical.
"[Director] Jacques [Audiard} always says he had this idea a long time ago — to make a little opera. And then for this movie, he finally decided to turn it into a musical. But for some reason, I think when he started the idea, he just made a treatment. And then, [composers and songwriters] Camille and Clément started to work."
—Juliette Welfling, Editor, “Emilia Pérez”
Joining today’s conversation are:
- Juliette Welfling – Editor
- Paul Guilhaume – Director of Photography
- Cyril Holtz – Re-Recording Mixer & Sound Supervisor
- Clément Ducol – Composer
- Camille – Songwriter
Be sure to check out “Emilia Pérez,” now streaming in Dolby Vision® and Dolby Atmos® on Netflix.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Academy Award® and Grammy Award®-winning songwriter Stephen Schwartz, Tony Award®-winning musical director Stephen Oremus, and Oscar-nominated composer John Powell join guest host Jon Burlingame for an in-depth discussion about bringing the iconic Broadway musical “Wicked” to the big screen. Together they discuss how they collaborated with director Jon M. Chu to adapt the beloved musical into a cinematic experience, the challenges of blending live and pre-recorded vocal performances, and the ways in which they expanded the orchestral arrangements to match the scale of this massive Hollywood movie musical.
“We had spent so much time — and by ‘we’ I mean myself and [writer] Winnie Holtzman — when we were writing the screenplay, which of course includes the songs [and] going through everything very meticulously with [director] John Chu, that basically he came in knowing how he was going to shoot it… But then, of course, once you're actually there and working with bodies and working within the environment, things will change… This was an extremely collaborative process all along the way. It wasn't as if we did some music work, then went away, and came back and were surprised by what was done with it… Nobody sort of went off and did his thing by himself.”
—Stephen Schwartz, Executive Producer, Music and Lyrics, “Wicked”
Be sure to check out “Wicked,” now in theaters in Dolby Vision® and Dolby Atmos®.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Renowned film composer Harry Gregson-Williams joins guest host Jon Burlingame to discuss his sweeping score for “Gladiator II,” the highly anticipated sequel to Ridley Scott’s 2000 Academy Award®-winning classic. Having collaborated with Scott on seven films now, Gregson-Williams shares his approach to crafting a fresh sound for the world of Gladiator while also paying homage to Hans Zimmer’s iconic original score. From using ancient-inspired instruments and choirs, to experimenting with vocalists from around the globe, Gregson-Williams reveals how he wove together a richly textured score that enhances the film’s epic scale and emotional depth.
“The conversation I had with Ridley at first was that this is a fresh movie. It relates to the first movie, [but] let's not make our first port of call anything to do with the first score, thematically or otherwise, which was quite liberating. I knew we would circle back somehow, and lean on some of Hans's thematic material, just occasionally.”
—Harry Gregson-Williams, Composer, “Gladiator II”
Be sure to check out “Gladiator II,” now in theaters and Dolby Cinemas in Dolby Vision® and Dolby Atmos®.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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“I think that sound is, by far, the most powerful tool in the cinematic language.”
—Denis Villeneuve, Director, Co-Writer, and Producer, “Dune: Part Two”
Director Denis Villeneuve returns to Dolby Creator Talks to discuss the incredible sound work in “Dune: Part Two,” his latest adaptation of the epic sci-fi saga. He and his multiple Academy Award®-winning sound team share their thoughts on how sound plays such a pivotal role in his films, offering insights into his process of integrating sound design even during the early stages of development. From Paul’s iconic worm-riding sequence to the hauntingly quiet deserts of Arrakis, this episode explores the bold artistic choices that make the film such an immersive sonic experience.
Joining today’s conversation:
- Richard King - Supervising Sound Editor and Sound Designer
- Ron Bartlett - Re-Recording Mixer
- Doug Hemphill - Re-Recording Mixer
- Clint Bennett - Supervising Music Editor
Be sure to check out “Dune: Part Two,” now streaming in Dolby Vision® and Dolby Atmos® on MAX.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Multiple Emmy® Award-winning A1 audio mixer Glenn Stilwell joins us for an in-depth discussion on mixing live sports in Dolby Atmos®. As one of the first to adopt this immersive audio technology for sports, Glenn shares his journey into the high-pressure world of live sports audio, where he has worked on everything from the Olympics to Apple’s Friday Night Baseball. From setting up microphones for the iconic “bat crack” in baseball to leveraging the immersive capabilities of Atmos for crowd sounds and announcer placement, this conversation offers a fascinating behind-the-scenes look at the artistry and challenges of live sports audio production.
“When you go from stereo… now the room that you're listening in has opened up. The room, it feels bigger. Now imagine when you add four more speakers above you, now the room really opens up… If you can spread things out and get them away from the center channel, which is — the money. If the money's in the middle and the room becomes bigger, it becomes more distinct.”
—Glenn Stilwell, A1 Audio Mixer and Engineer
Special thanks to Major League Baseball and Apple for this week’s episode. You can find MLB’s Friday Night Baseball, now exclusively on Apple TV+.
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You can also check out the video for this episode.
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The art of pitching is a high-stakes, nerve-wracking aspect of filmmaking, where ideas transform from concepts into potential projects. Joining us to help demystify the pitching process is Dolby Institute Fellowship winner Carlos López Estrada, hosting another insightful Satellite Session from April 2024. Carlos gathers an exceptional panel featuring film and television creators, each sharing personal insights and practical tips on crafting pitches, to offer invaluable wisdom on what it takes to pitch a project and navigate the journey from idea to production.
Joining today’s discussion are:
- Marvin Lemus – Director, Co-creator, and Co-showrunner of Netflix's Gentefied
- Sadé Clacken Joseph – Director of Rap Sh!t on HBO Max, CEO of Out of Many Media
- Francisco Cabrera-Feo – Writer for Acapulco on Apple TV+ and Gordita Chronicles
- Matt Braly – Creator and Showrunner of Disney’s Amphibia
- Jessica Virtue – SVP of Production at Walt Disney Pictures
This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.
Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
Antigravity 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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You have probably heard about the Hollywood writer’s room, but what, exactly, goes on inside one? Joining us once again to demystify yet another filmmaking topic is our good friend — and Dolby Institute Fellowship winner — Carlos López Estrada, with another of his excellent Satellite Sessions — this one from March 2024. Carlos welcomes an impressive and diverse panel of film and television writers to share their experiences, break down how these rooms come together, and discuss how collaboration drives storytelling from inception to screen.
Joining today’s discussion are:
- Teresa Hsiao – Writer, Producer, and Co-creator of “Awkwafina is Nora from Queens”
- Charise Castro Smith – Writer, Director, and Academy Award®-winning Co-writer and Co-director of “Encanto”
- Amy Aniobi – Head Writer and Co-executive Producer of “Insecure.”
- Francisco Cabrera-Feo – Writer for “Acapulco” on Apple TV+ and “Gordita Chronicles”
This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.
Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
Antigravity 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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Pharrell Williams has had a remarkable life and career in music, which are chronicled in the film “Piece By Piece,” a uniquely animated documentary made entirely out of LEGO. Joining today’s discussion is Director Morgan Neville, Supervising Sound Editor Al Nelson, and Re-recording Mixer Pete Horner, to talk how Pharrell’s creative vision for using LEGO opened up exciting storytelling possibilities, the film’s imaginative sound design and immersive audio mix, and how they brought Pharrell’s experience with synesthesia to life through sound and animation.
“This film had so many more opportunities than a documentary normally [has]. Because of animation, I felt like we could time- and space-travel… That kind of freedom I got incredibly excited by. Normally we have so many constrictions, but both in terms of what I could do with sound, but also particularly with Pharrell, what I could do visually with sound. Both in terms of creating the synesthesia effect — which he sees color when he hears sound, and that we could actually see that — and by creating the beats, represented by physical objects of color, too. So that, from a storytelling point of view, was great.”
—Morgan Neville, Director, Writer, and Producer, “Piece By Piece”
Be sure to check out Piece by Piece, now in theaters and Dolby Cinemas in stunning Dolby Vision® and Dolby Atmos®.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Academy Award®-winning composer Hildur Guðnadóttir and executive music producer Jason Ruder join our guest host, music journalist Jon Burlingame, to discuss their extraordinary work on “Joker: Folie à Deux.” The sequel to 2019’s Oscar-winning “Joker” comes with high expectations, and Hildur and Jason talk about the challenge of evolving the sound of the Joker universe, while incorporating new elements like live-recorded songs and experimental instruments. They discuss how the music helps define the tone of the movie, blurring the lines between score and song to create an immersive experience.
“We really wanted to honor the sound world that we had already established [from the first film]... so we didn't want to go too far away from it. We knew that there would be strings and there would be a cello connection… Well, it just so happened that my instrument that I used in the first song got stolen a week before the recording session. So I had actually intended to just use the same instrument, but the Gods of Creativity forced me in a different direction… So I came up with this idea of creating what I call ‘the string prison.’ It’s literally like an electric fence that’s playable... an electroacoustic, large scale, playable string instrument that formed this prison cell of very, very, very hot strings, that I played through another instrument.”
—Hildur Guðnadóttir, Composer, “Joker: Folie à Deux”
Be sure to check out “Joker: Folie à Deux,” now in theaters, in Dolby Vision® and Dolby Atmos®.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Director and co-writer Nora Fingscheidt joins her sound team to discuss their extraordinary work on the new film “The Outrun” — a moving portrayal of one woman’s struggle with sobriety and memories of a traumatic childhood, using sound design to explore the emotional landscape of its main character, Rona, played by the extraordinary Saoirse Ronan. From the quiet, wind-swept expanses of the Orkney Islands to the bustling streets of London, the team reveals how they crafted distinct sonic environments that reflect Rona’s turbulent emotional journey. The film was a standout at this past year’s Sundance Film Festival and is a masterclass in how to use sound design to tell a compelling, layered story.
Joining today’s discussion:
- Nora Fingscheidt - Director and Co-Writer
- Gregor Bonse - Re-Recording Mixer
- Dominik Leube - Supervising Sound Editor & Sound Mixer
- Oscar Stiebitz - Sound Designer & Sound Mixer
"As soon as we get together - this crew, with our composers - we see it as this merging [of an] audio landscape, between sound design, mix and music. And we start thinking, ‘how should this movie sound?’ Basically at the same time as I get together with the DOP discussing, ‘how should this movie look?’ It's 50% image, 50% sound, no matter what the budget is.”
—Nora Fingscheidt, Director and Co-Writer, “The Outrun”
Be sure to check out “The Outrun” now in theaters, in stunning Dolby Atmos®.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Legendary filmmaker, animator, writer, and voice actor Chris Sanders (you may know him as “Stitch”) joins his sound team — including our first-ever guest on this podcast, Randy Thom — to talk about their stunning work on the latest animated adventure/tearjerker from DreamWorks Animation, “The Wild Robot.” A truly visual spectacle, the film has an appropriately spectacular soundtrack, which Chris and the team relished in crafting its richness and complexity for over two years.
“We didn't have any score at all for a while. So one of the really neat things about the opening [reel] is that it's all sound design. It's all sound effects, which is really, really cool. I was impressed with how much detail — and it was necessary to have that kind of detail — and because we had the opportunity of getting as deep into this as we wanted to. So it's an especially good reason to go see this movie on a big screen as the sound of this whole film is really is so spectacular.”
—Chris Sanders, Writer and Director, “The Wild Robot”
Joining today’s discussion:
- Chris Sanders - Writer and Director
- Randy Thom - Sound Designer
- Gary Rizzo - Re-recording Mixer
- Leff Lefferts - Re-recording Mixer & Supervising Sound Editor
Be sure to check out “The Wild Robot” in stunning Dolby Vision® and Dolby Atmos®, in theaters now.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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“The Rise and Fall of Ziggy Stardust and the Spiders from Mars” is the first David Bowie studio album to be released in Dolby Atmos® and joining us today is Ken Scott, the original co-producer of the album (and many others from Bowie), as well as Dolby Atmos mix engineer, Emre Ramazanoglu.
Ken Scott is a legend in the world of music production and engineering, and he takes our guest host, Ben Givarz, inside the studio with David Bowie to explore the production of the original album and discusses how he wanted to create a new experience for listeners in Dolby Atmos, which also led him to the creation of brand new stereo mixes.
This interview is part of our new series, "Reimagining the Classics."
“If you're going to ask people to listen to a record in a different format, you need to give it to them totally in that format, not just take the stereo and just put things in different places. It should be something different so that they become interested in it again. And I think it worked, because Woody, [Bowie’s] drummer, he heard some of it — and his first words were, ‘I felt as if I was there with the band.’ He felt as if he was on stage, because it surrounded him so much. Which is exactly what we were aiming for.”
—Ken Scott, Record Producer and Mix Engineer
You can listen to these and many other classic and contemporary albums in Dolby Atmos, on enabled streaming services.
You can purchase the album, “The Rise and Fall of Ziggy Stardust and the Spiders from Mars,” here:
https://davidbowie.com/
https://rhino.com/
Many thanks to Mike Exeter for the B-roll of Ken and Emre in the mixing studio. The full video can be viewed here: https://youtu.be/LVcagYbrd6o
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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“Sing Sing” — an independent feature film now in theaters — made a big splash at last year’s Toronto International Film Festival. Directed by Greg Kwedar, the film is notable for its unique casting approach, blending actors such as Colman Domingo with real-life, formally incarcerated individuals. It’s set in the Sing Sing Correctional Facility in New York, focusing on the prison’s theater troupe. But one of the most interesting aspects of the production was how it was financed. And in particular how it used a profit-sharing model where all crew members, including those non-professional actors, received a share of the film's profits. Today’s discussion details how exactly that financing strategy worked, as well as the inspiring journey to getting the film made.
Joining today’s discussion:
- Carlos López Estrada - Moderator
- Valerie Bush - Moderator
- Greg Kwedar - Producer, Director, and Writer, Sing Sing
- Clint Bentley - Producer and Writer, Sing Sing
- Monique Walton - Producer, Sing Sing
Be sure to check out Sing Sing, now playing in theaters.
This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.
Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
Antigravity 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 Atmos® mixes of Rush classics like “Moving Pictures” and “Signals,” building upon his original surround mixes.
In this conversation with guest host Ben Givarz, Richard shares his process for respecting the creative intent of these timeless tracks while adapting them to Dolby Atmos, ensuring an immersive experience that translates seamlessly across various playback systems. He delves into how Dolby Atmos allows him to emphasize the sonic nuances of Geddy Lee's voice and bass, Alex Lifeson's intricate guitar work, and Neil Peart's legendary drumming, all while maintaining the integrity of the original recordings. Plus, he offers his insights into the future of music mixing, and his excitement for new, original compositions being created in Dolby Atmos from the ground up.
This interview is part of our new series, "Reimagining the Classics."
“One of the things about a technology like Dolby Atmos is it gives producers, mixers, engineers and artists a new way to express, creatively. A lot of the work I do is in mixing. And for me, rather than trying to reinvent ways to cram bigger and bigger sessions into two speakers, I now have a lot more real estate to work with. And that's gratifying. And it gives me a lot of new creative energy.”
—Richard Chycki, Audio Engineer and 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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