242 - Cinema Of Empathy, Hosted By Carlos López Estrada Dolby Creator Talks podcast

39:34

Mix engineer and recording engineer Jayda Love, along with Dolby Atmos® mix engineer Juan Razuri, join guest host Ben Givarz to discuss their work on Doechii’s Grammy®-winning mixtape, “Alligator Bites Never Heal,” which took home Best Rap Album at the 2025 GRAMMY Awards® and earned nominations for Best Rap Performance and Best New Artist. In this episode, Jayda and Juan break down their creative process — from initial recording sessions in Los Angeles to the immersive final mixes in Dolby Atmos. “A lot of the vocal production stuff — as a recording engineer — I'll help with layering and blending. That's a big thing for her. But a lot of the time, in terms of volume and placement and stuff, she's very hands-on. She'll be like, ‘I need those higher.’ And naturally, as an engineer, ‘I'm like, these are a little too loud.’ But then I'll finally get an ear break or hear it take a step back and I'm like, ‘oh, she's very particular about this stuff, especially the presence of her voice.’ And so I can definitely credit a lot of that to her.” —Jayda Love, Mix Engineer, “Alligator Bites Never Heal” by Doechii Stay connected! - You can listen to Doechii’s “Alligator Bites Never Heal,” as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services. - Follow Doechii on Instagram - Follow mix engineers Jayda Love and Juan Razuri on Instagram - Follow Top Dawg Entertainment on Instagram 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 .…

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243 - The Sound of Star Wars Outlaws 1:02:12

9 days ago1:02:12

1:02:12

Guest host Alistair Hirst returns to Dolby Creator Talks to speak with the audio team behind "Star Wars Outlaws," one of the most successful games of last year. Developed by Ubisoft's Massive Entertainment in collaboration with Lucasfilm Games, the title delivers a rich, cinematic gameplay experience — thanks to its immersive sound design and dynamic score. Recently nominated for a BAFTA in Audio Achievement, the team shares how they built the game’s soundscape from the ground up, mixing original Star Wars recordings with new field material to create unique environments, iconic weapons, and vehicles. They also explain how Dolby Atmos® was used to deepen the spatial realism — from starships above to rain on rooftops — and how their creative approach to sound design gave the game its gritty, signature edge. “First and foremost, we landed on three main pillars... The first of them being a cinematic experience... We really wanted to tell a story using audio... The second was making it a true and authentic Star Wars experience... And finally, we coined the phrase we call the scoundrel sound... It’s about keeping the grit from the original trilogy, but also updating the sounds to make them sound fresh and new.” —Simon Koudriavtsev, Audio Director, "Star Wars Outlaws" Joining today’s conversation from Massive Entertainment: - Simon Koudriavtsev - Audio Director - Jacob Coles - Lead Audio Designer - Martin Weissberg - Principal Audio Designer - Simon Siegfried Klar - Senior Audio Designer Be sure to check out "Star Wars Outlaws," available now in Dolby Atmos®, on supported platforms. 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 .…

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242 - Cinema of Empathy, hosted by Carlos López Estrada 1:18:32

21 days ago1:18:32

1:18:32

Filmmaker Carlos López Estrada hosts a heartfelt and eye-opening conversation with five acclaimed artists about the power of storytelling to foster compassion, connection, and empathy. Joining the discussion: - Andrew Ahn – Filmmaker (“Fire Island,” “Driveways”) - Patricia Cardoso – Filmmaker (“Real Women Have Curves”) - Marcus Gardley – Screenwriter, Playwright (“The Color Purple”) - Qui Nguyen – Filmmaker, Screenwriter (“Raya and the Last Dragon”) - Sean Wang – Filmmaker (“Dìdi,” “Nǎi Nai & Wài Pó”) 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 Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .…

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241 - The Sound of Helldivers 2 52:32

6 weeks ago52:32

52:32

Guest host Alistair Hirst returns to Dolby Creator Talks to sit down with the audio team behind "Helldivers 2," the hit third-person shooter from Arrowhead Game Studios. The game features a groundbreaking, immersive soundtrack which was recently nominated for a BAFTA in Audio Achievement . In this episode, the creative team breaks down how they crafted the game’s visceral soundscape—enhancing the gameplay with hard-hitting weapons, dynamic enemies, and a cinematic, larger-than-life mix. They also share how they utilized Dolby Atmos® to heighten the sense of immersion and verticality, from incoming projectiles to flying enemies. “Words that came up quite a lot were: visceral… chaotic... fairly violent… over-the-top movie trailer style sound effects. Grounded where possible, but larger-than-life, in-your-face, [and] action-inspired.” —Harvey Scott, Project Audio Director, "Helldivers 2" Joining the discussion: - Harvey Scott, Project Audio Director - Juuso Tolonen, Project Lead Sound Designer - Paola Velasquez, Senior Dialogue Designer - Simon Gumbleton, Senior Technical Sound Design Supervisor - Olliver Andersson, Sound Designer Be sure to check out “Helldivers 2,” now available on Sony Playstation in 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 the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .…

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240 - Empowering Creatives Through Dolby Atmos, Live at SXSW 26:53

8 weeks ago26:53

26:53

Guest host Ben Givars returns to Dolby Creator Talks for a live panel at SXSW 2025 to discuss how Dolby Atmos® empowers musicians and creatives to take their music and audio to the next level. Producer and musician (Spoon) Jim Eno joins collaborators from Colorado-based fuzz folk band autumnal to discuss how he used Dolby Atmos to mix a totally immersive audio experience for their song, “breathing.” “There’s so much space. When you listen to an Atmos mix on a speaker system, you definitely hear things that you’ve never heard on a stereo mix, because they’re not cramped together… With Atmos you can take more freedom and liberties, and be able to hear more things around the 360 spectrum.” - Jim Eno - Musician, Producer, Project Traction Founder Joining the conversation: - Annalee Knies - Guitar, Vocals - autumnal - Geneva Hein - Synth, Vocals - autumnal - Justice Murray - Bass - autumnal - Jim Eno - Musician, Producer, Project Traction Founder - Sara L Hauser - Musician, Producer, Music Educator Learn more about Project Traction’s mission to bridge the gender gap in music production and engineering here . Special thanks to our partners at Rivian Automotive for showcasing their cutting-edge in-car Dolby Atmos audio systems at the festival . 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 .…

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239 - First-time Filmmakers at Sundance 2025, Hosted by Carlos López Estrada 54:44

9 weeks ago54:44

54:44

Recorded live at the 2025 Sundance Film Festival, Academy Award®-nominated director (“Raya and the Last Dragon”) Carlos López Estrada once again brings together a panel of first-time feature filmmakers making their world premieres at the festival. These five directors have graciously joined us to offer some insights in how to navigate the first-time filmmaker experience at Sundance, as well as how they overcame the challenges of getting their films made in the first place. Joining the discussion are: - Eva Victor - “Sorry, Baby” - Joel Alfonso Vargas - “Mad Bills to Pay: (or Destiny, dile que no soy malo)” - Cole Webley - “Omaha” - Katarina Zhu - “Bunnylovr” - Sierra Falconer - “Sunfish (& Other Stories on Green Lake)” This is another amazing conversation which is part 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 Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .…

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238 - Meet the Nominees - Best Cinematography, Original Score, and Sound - Oscars 2025 29:09

12 weeks ago29:09

29:09

Table of Contents: CINEMATOGRAPHY 01:38 - “The Brutalist” - Lol Crawley 02:52 - “Dune: Part Two” - Greig Fraser 04:36 - “Emilia Pérez” - Paul Guilhaume 06:48 - “Maria” - Ed Lachman 09:08 - “Nosferatu” - Jarin Blaschke ORIGINAL SCORE 10:29 - “The Brutalist” - Daniel Blumberg 11:18 - “Conclave” - Volker Bertelmann 13:04 - “Emilia Pérez” - Clément Ducol and Camille 14:20 - “Wicked” - John Powell and Stephen Schwartz 15:39 - “The Wild Robot” - Kris Bowers SOUND 18:06 - “A Complete Unknown” - Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco 19:41 - “Dune: Part Two” - Gareth John, Richard King, Ron Bartlett and Doug Hemphill 20:57 - “Emilia Pérez” - Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta 22:59 - “Wicked” - Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis 24:26 - “The Wild Robot” - Randy Thom, Brian Chumney, Gary A. Rizzo and Leff Lefferts This past year featured some of the most stunning, innovative, and groundbreaking work in the categories of Cinematography, Original Score, and Sound. And since we’ve been diligently interviewing the artists and teams who have received Academy Award® nominations in those categories, we offer you this special round-up episode — to help give some greater insight into how to cast your final votes. The soundbites in this episode are mere snippets from the discussions we’ve been conducting through the past several months. If you’d like to take a deeper dive: FULL EPISODES, BY CATEGORY: = CINEMATOGRAPHY = “The Brutalist” 237 - Lol Crawley and the Cinematography of The Brutalist - Feb 10th, 2025 YouTube: https://youtu.be/d342-st5dvg Spotify: https://open.spotify.com/episode/0Txxk3xNAcmItPwsm9GquP Apple Podcasts: https://podcasts.apple.com/us/podcast/237-lol-crawley-and-the-cinematography-of-the-brutalist/id1549901182?i=1000690773442 “Dune: Part Two” 189 - Greig Fraser and the Cinematography of Dune: Part Two - March 5th, 2024 YouTube: https://youtu.be/39p8wPkhmtM Spotify: https://open.spotify.com/episode/5WMtD1WbGGVBgrlQtSFzON Apple Podcasts: https://podcasts.apple.com/us/podcast/189-greig-fraser-and-the-cinematography-of-dune-part-two/id1549901182?i=1000648108720 “Emilia Pérez” 220 - The Making of Emilia Pérez - Dec 4th, 2024 YouTube: https://youtu.be/VZruPNqHv3w Spotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2 Apple Podcasts: https://podcasts.apple.com/us/podcast/220-the-making-of-emilia-p%C3%A9rez/id1549901182?i=1000679018480 “Maria” 236 - Ed Lachman and the Cinematography of Maria - Feb 7th, 2025 YouTube: https://youtu.be/y1uEx9BXDZ4 Spotify: https://open.spotify.com/episode/30e3JLc9xRTLZfgg7c0cPd?si=05899a44c1794989 Apple Podcasts: https://podcasts.apple.com/us/podcast/236-ed-lachman-and-the-cinematography-of-maria/id1549901182?i=1000689894968 “Nosferatu” 231 - Jarin Blaschke, Robert Eggers, and the Cinematography of Nosferatu - Jan 28th, 2025 YouTube: https://youtu.be/uhYLPTwSfVY Spotify: https://open.spotify.com/episode/0zzEkGX2fQL9FxwtfhCBT7 Apple Podcasts: https://podcasts.apple.com/us/podcast/231-jarin-blaschke-robert-eggers-and-the/id1549901182?i=1000686124650 = ORIGINAL SCORE = “The Brutalist” 233 - Daniel Blumberg and the Music of The Brutalist - Feb 3rd, 2025 YouTube: https://youtu.be/ohPBfMo2v98 Spotify: https://open.spotify.com/episode/1xhqAR0GUvybmOGvcaqhZo?si=c679bc6941224e1a Apple Podcasts: https://podcasts.apple.com/us/podcast/233-daniel-blumberg-and-the-music-of-the-brutalist/id1549901182?i=1000688454940 “Conclave” 232 - Volker Bertelmann and the Music of Conclave - Jan 31st, 2025 YouTube: https://youtu.be/Z7xlFXTr3VQ Spotify: https://open.spotify.com/episode/0W4oIIRCzpoiMF4w5thSpR?si=51e129b468dd4c29 Apple Podcasts: https://podcasts.apple.com/us/podcast/232-volker-bertelmann-and-the-music-of-conclave/id1549901182?i=1000687473584 “Emilia Pérez” 220 - The Making of Emilia Pérez - Dec 4th, 2024 YouTube: https://youtu.be/VZruPNqHv3w Spotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2 Apple Podcasts: https://podcasts.apple.com/us/podcast/220-the-making-of-emilia-p%C3%A9rez/id1549901182?i=1000679018480 “Wicked” 219 - The Music of Wicked - Nov 27th, 2024 YouTube: https://youtu.be/_qF9_qT_ztk Spotify: https://open.spotify.com/episode/79mdpMosImmdtKDUoDIF6g Apple Podcasts: https://podcasts.apple.com/us/podcast/219-the-music-of-wicked/id1549901182?i=1000678378961 “The Wild Robot” 235 - Kris Bowers and the Music of The Wild Robot - Feb 5th, 2025 YouTube: https://youtu.be/fM1nvk52v_4 Spotify: https://open.spotify.com/episode/3TseTaQbcFpWncZplcFLzU?si=9a1ef6b7ff4d49f0 Apple Podcasts: https://podcasts.apple.com/us/podcast/235-kris-bowers-and-the-music-of-the-wild-robot/id1549901182?i=1000689221474 = SOUND = “A Complete Unknown” 223 - Director James Mangold and the Sound and Music of A Complete Unknown - Dec 9th, 2024 YouTube: https://youtu.be/_R3WD_QxzP4 Spotify: https://open.spotify.com/episode/64jXgTdR4Y18dqqZKmIZft Apple Podcasts: https://podcasts.apple.com/us/podcast/223-director-james-mangold-and-the-sound-and/id1549901182?i=1000679725091 “Dune: Part Two” 217 - Director Denis Villeneuve and the Sound of Dune: Part Two - Nov 21st, 2024 YouTube: https://youtu.be/wIDs4H82EQ0 Spotify: https://open.spotify.com/episode/2JRC52F4oMdBguMrtSorBp Apple Podcasts: https://podcasts.apple.com/us/podcast/217-director-denis-villeneuve-and-the-sound-of-dune-part-two/id1549901182?i=1000677747309 “Emilia Pérez” 220 - The Making of Emilia Pérez - Dec 4th, 2024 YouTube: https://youtu.be/VZruPNqHv3w Spotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2 Apple Podcasts: https://podcasts.apple.com/us/podcast/220-the-making-of-emilia-p%C3%A9rez/id1549901182?i=1000679018480 “Wicked” 222 - Director Jon M. Chu and the Sound and Editing Wizards of Wicked - Dec 6th, 2024 YouTube: https://youtu.be/nD0gzHEkGpk Spotify: https://open.spotify.com/episode/3DHMp9iqGCXH3IUcwoZTKb Apple Podcasts: https://podcasts.apple.com/us/podcast/222-director-jon-m-chu-and-the-sound-and/id1549901182?i=1000679449382 - AND - 234 - Capturing Wicked's Live Singing with Simon Hayes - Feb 4th, 2025 YouTube: https://youtu.be/h-riEjOFM60 Spotify: https://open.spotify.com/episode/7bNckC02essYgzzPggMleM?si=f357bb82399b4e84 Apple Podcasts: https://podcasts.apple.com/us/podcast/234-capturing-wickeds-live-singing-with-simon-hayes/id1549901182?i=1000688810671 “The Wild Robot” 210 - The Sound of The Wild Robot, with Writer/Director Chris Sanders - Oct 1st, 2024 YouTube: https://youtu.be/QaZIU8egZYg Spotify: https://open.spotify.com/episode/5i0jNA06OcpswgMmIElmai Apple Podcasts: https://podcasts.apple.com/ro/podcast/210-the-sound-of-the-wild-robot-with/id1549901182?i=1000671390545 If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, 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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237 - Lol Crawley and the Cinematography of The Brutalist 45:57

12 weeks ago45:57

45:57

Academy Award®-nominated cinematographer Lol Crawley joins us to discuss his approach to "The Brutalist," the epic indie film from writer / director Brady Corbet. Crawley delves into his decision to shoot the film in VistaVision, how it shaped the film’s aesthetic, and his use of practical lighting to create its atmospheric look. He also shares insights into how they executed the film’s many “oners” (one-shot scenes), the challenges of capturing the marble quarry sequence, and how his cinematography reinforces the film’s themes of ambition, displacement, and artistic legacy. “The VistaVision shot… it's a little bit like anamorphic, in the sense of [it capturing] two things in one. You get this intimacy, but you also have this wide field of view. So you see the world, and you see the performance. And I think that's what gives the film a certain grandeur. And its debt to early 50s, 60s American cinema.” —Lol Crawley, Director of Photography, "The Brutalist" Be sure to check out “The Brutalist,” now in theaters. 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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236 - Ed Lachman and the Cinematography of Maria 36:22

13 weeks ago36:22

36:22

Academy Award®-nominated cinematographer Ed Lachman joins us to discuss his gorgeous cinematography on “Maria,” directed by Pablo Larraín. The seasoned director of photography shares his approach to blending formats — including 35mm, Super 8, and 16mm — to capture the operatic essence of Maria Callas’s life, as well as his use of color psychology, lighting techniques, and period-specific film stocks to evoke emotion and authenticity. "Opera and cinema are very similar… Opera's images are not representational either. Like cinema. And they create the subtext for the emotions of the story. And what helps to create the nonverbal form of communication is the same thing that happens in music of the opera. It's a heightened reality… I felt the film could be a representation if her life, mirrored in the operas that she sang in. And even though people say she was the sum of the tragedies of the opera she sang, I believe she had the resistance and strength to overcome." —Ed Lachman, Director of Photography, “Maria” Be sure to check out “Maria,” 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. 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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235 - Kris Bowers and the Music of The Wild Robot 40:14

13 weeks ago40:14

40:14

Academy Award®-nominated composer Kris Bowers joins guest host Jon Burlingame to discuss his stunning orchestral score for "The Wild Robot," directed by Chris Sanders. The composer dives deep into how he crafted the film’s sonic landscape, incorporating orchestral textures, electronic elements, and unique percussive sounds. He also shares insights into his collaboration with director Chris Sanders and how becoming a parent influenced his emotional approach to crafting the film’s original score. “Chris [Sanders] talked about the role that music was going to need to play in this film... He already knew there were going to be these long stretches where we would have little to no dialogue. And he was trusting that music could help tell the story in those moments… Because for him, the idea of kindness as a survival technique, that was very, very key to the story... Really this idea of music needing to have this vulnerability, this warmth, clear melodic statements, and then also having the ability to go from small intimate moments to really big, huge action sequences.” —Kris Bowers, Composer, "The Wild Robot" Be sure to check out “The Wild Robot,” now available to stream and on Blu-ray, in Dolby Vision® and Dolby Atmos®. The soundtrack to “The Wild Robot” by Kris Bowers is also available to stream on Apple Music in Dolby Atmos! And don’t miss our previous episode on the sound of “The Wild Robot,” with writer and director Chris Sanders. 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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234 - Capturing Wicked's Live Singing with Simon Hayes 31:45

13 weeks ago31:45

31:45

Academy Award®-winning production sound mixer Simon Hayes joins us to discuss his groundbreaking work on “Wicked.” Nominated for his third Oscar®, Hayes shares how he captured live vocals on set, blending the technical innovation with the emotional. He reflects on lessons learned from “Les Misérables,” how he worked seamlessly with the music department, and the intricate process of ensuring performers like Cynthia Erivo and Ariana Grande had the freedom to deliver their most powerful performances while always staying in sync with the film’s score. "We had no idea that when Cynthia and Ari sung together, their voices would mesh the way that they did. And something very, very special happens when those two sing together… That first time when I had my cans on, and they were dueting, and the hairs on the back of my neck started standing up, and you get that tingle… You just know, as a sound mixer, 'My God, we've struck gold.' This is something very unique and special." —Simon Hayes, Production Sound Mixer, “Wicked” Be sure to check out “Wicked,” now available to stream at home in Dolby Vision® and Dolby Atmos® . And don’t miss our previous episode featuring Stephen Schwartz and the music team behind “Wicked , as well as our episode with Director Jon M. Chu and the film’s post-production team . You can also check out the video for this episode. Please subscribe to Dolby Creator Talks wherever you get your podcasts . 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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233 - Daniel Blumberg and the Music of The Brutalist 33:58

13 weeks ago33:58

33:58

Academy Award®-nominated composer Daniel Blumberg joins guest host Jon Burlingame to discuss his evocative and unconventional music for "The Brutalist," directed by Brady Corbet, which earned the film an Oscar® nomination for Best Original Score. Blumberg shares how his long-time friendship with Corbet influenced the creative process, how he crafted the film’s musical language using improvisational techniques, and how he recorded some of the score’s most striking pieces — including a live jazz sequence and a prepared piano overture, which was played on set to help choreograph the movement of one of the film’s opening sequences. "[Brady Corbet] wanted to shoot the overture [of] Laszlo leaving the Holocaust behind, arriving in New York, and the optimism of seeing the Statue of Liberty to music. So that was one of my first priorities: To create a demo that would work on set… I had this sample of a piano that I’d prepared in London. This sort of percussive piano where you interfere with the strings… John Cage put screws in between strings, and that was a sound that felt right… A few weeks later, we were playing it really loud on the set. And it was great because the cinematographer could move to the music and Adrian could move to the music and the music could cue the extras… I think it was successful in terms of having an impact for the opening of the film.” —Daniel Blumberg, Composer, "The Brutalist" Be sure to check out “The Brutalist,” now playing in theaters. 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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232 - Volker Bertelmann and the Music of Conclave 36:35

14 weeks ago36:35

36:35

Academy Award®-winning composer Volker Bertelmann joins guest host Jon Burlingame to discuss his tense and atmospheric score for “Conclave,” directed by Edward Berger. Nominated for his third Oscar, Bertelmann — who won in 2023 for Berger’s “All Quiet on the Western Front” — shares how he crafted the film’s unique musical palette, eschewing the sounds of traditional church music in favor of experimental instruments like the Cristal Baschet. He also discusses his approach to scoring thrillers as well as his deep collaboration with Berger. “[Edward Berger’s] feeling is that music is a third dimension, in a way. That it's something that adds a layer to the film… You can create links to scenes, but you can also use music detached from what you see… You can use it in areas where it's already starting to give someone a feeling, that you don't see in the scene, but somehow… undercurrent-ly… starts to rise… What I think Edward works a lot with is building tension up, but then cutting the music pretty hard, into silence. And then you're left in the silence. But the moment where it's cut is very important… It is intentionally being cut at a certain moment, and then there is maybe a natural sound where you suddenly feel much closer to the person than you felt before, because you are alone with a person in silence.” —Volker Bertelmann, Composer, “Conclave” Be sure to check out “Conclave,” now in theaters and available to stream in Dolby Vision® and Dolby Atmos®. Volker Bertelmann’s soundtrack to “Conclave” is also available to stream on Apple Music in 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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231 - Jarin Blaschke, Robert Eggers, and the Cinematography of Nosferatu 1:08:57

14 weeks ago1:08:57

1:08:57

We are joined by Director of Photography and first-time Academy Award® nominee Jarin Blaschke, as well as Director Robert Eggers, to discuss the stunning cinematography of “Nosferatu.” Together, the frequent collaborators delivered a gothic masterpiece, blending German romanticism and chilling horror into stunning, painterly visuals. In this conversation, Eggers and Blaschke discuss the meticulous development of the film’s look, the challenges of shooting with practical lighting, and their shared love for highly composed one-take shots. From the fog-drenched crossroads to the eerie interiors of Orlok's castle, the pair reveal the painstaking care and simple, practical ingenuity that brought this cinematic fever dream to life. “I’m just trying to curate life… What kind of optics just feel right? The little flare around the windows. What is the lens that just feels nice? Let’s just look at a bunch of those. Let’s have lenses made. We’re very privileged in that we can do that now and see what that looks like.” —Jarin Blaschke, Director of Photography, “Nosferatu” This conversation was a live webinar as part of Dolby Creator Lab’s partnership with Sundance Collab, the digital platform from the Sundance Institute designed for filmmakers, with exclusive webinars, curated resources, and free educational videos. Be sure to check out “Nosferatu” in Dolby Vision® and Dolby Atmos®, in select theaters. Please subscribe to Dolby Creator Talks wherever you get your podcasts . You can also check out the video for this episode. Our previous episode with Robert Eggers and Sound Designer Damian Volpe, discussing the sound of "Nosferatu,” is now on YouTube . 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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230 - St. Vincent’s All Born Screaming in Dolby Atmos 31:02

16 weeks ago31:02