Dolby Creator Talks

Showrunners D.B. Weiss and David Benioff — co-creators of “Game of Thrones” — and Alexander Woo (“True Blood”) join us to talk about their epic new science fiction series: “3 Body Problem” 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 — which, famously, have been described as “unadaptable” to film & TV, due to the complexities of particle physics, which are at the heart of the premise of the story. “We're not physicists. So we needed to — first and foremost — 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 cast’s 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 — even if you don't entirely understand all the explanation and scientific logic behind what you're seeing — give you a flavor for what it means and how it feeds into the story that you're seeing.”—D.B. Weiss, Co-Showrunner, Executive Producer, and Writer, “3 Body Problem”Be sure to check out “3 Body Problem,” 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.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn. 

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, “The American Society of Magical Negroes.” “To me, the best versions of most collaborative things are the things you get to and you're like, ‘wait, was that your idea or was that my idea? I can't remember.’ And there's a million like this… where I'm like, ‘oh, I really thought you pitched that to me.’ And he's like, ‘no, no, I thought you pitched that to me!’ 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.”—Kobi Libii, Director and Writer, “The American Society of Magical Negroes”This conversation was a live webinar as part of the Dolby Institute’s partnership with Sundance Collab, the digital platform from the Sundance Institute designed for filmmakers, with exclusive webinars, curated resources, and free educational videos.“The American Society of Magical Negroes” 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. 

This week we discuss the sound, music, and cinematography of “Masters of the Air,” 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.“Because 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.”—Jack Whittaker, Supervising Sound Editor, “Masters of the Air”Joining our conversation:- Supervising Sound Editor Jack Whittaker - Re-recording Mixer Duncan McRae- Re-recording Mixer Michael Minkler- Composer Blake Neeley- Cinematographer Jac FitzgeraldBe sure to check out “Masters of the Air” 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. 

Recorded live at the 2024 Sundance Film Festival, Academy Award®-nominated director (“Raya and the Last Dragon”) — and Dolby Institute Fellowship winner — Carlos López Estrada brings together another all-star panel of Hollywood talent, this time posing the question: Is “No Budget Filmmaking” even possible in this day and age? “There'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, ‘did you like it? Did you hate it? Did it make money?’”—Justin Simien, Film & Television Producer, Writer, and DirectorToday’s 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 Academy’s Satellite Sessions — 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 — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment). Many thanks to the co-presenter of this panel, MACRO: “a multiplatform media company representing the voice and perspectives of Black people and persons of color.” Learn more about MACRO:https://www.staymacro.com/Learn more about Antigravity Academy:https://antigravityacademy.co/Learn more about CAPE — 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

Hans Zimmer discusses his unconventional approach to scoring 'Dune: Part Two' and his desire to break away from traditional sci-fi music norms. He shares his passion for the project and the challenges of creating a unique sonic experience. The episode dives into the evolution of the musical score, international collaboration, Dolby Atmos impact, and potential future projects.

Cinematographer Greig Fraser discusses the beautiful visuals and technical challenges of 'Dune: Part Two', showcasing bold decisions like infrared photography. He highlights the importance of collaboration in achieving a visually stunning film and emphasizes the immersive experience in Dolby Vision and Dolby Atmos at Dolby cinemas.

Table of Contents: 01:28 - El Conde - Edward Lachman, ASC12:53 - Killers of the Flower Moon - Rodrigo Prieto, ASC, AMC24:12 - Oppenheimer - Hoyte Van Hoytema, ASC, FSF, NSC33:29 - Poor Things - Robbie Ryan, BSC, ISCWelcome to our continuing coverage of this year's Academy Awards®. We have compiled interviews from the nominees in the Best Cinematography category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch (and listen) for as you get to this category on your ballot!NOTE: As always, all nominees are invited to join our conversations. Unfortunately, due to scheduling, Matthew Libatique (Maestro) was not able to join us.FULL EPISODES:El Conde - Edward Lachman, ASC (episode 183)- YouTube - https://youtu.be/qPGWnTpbLos- Spotify - https://open.spotify.com/episode/57upYs823lwPV73VEHz0Cv- Apple Podcasts - https://podcasts.apple.com/us/podcast/183-the-cinematography-of-el-conde-with-dp-edward-lachman/id1549901182?i=1000645550716Killers of the Flower Moon - Rodrigo Prieto, ASC, AMC (episode 181)- YouTube - https://youtu.be/sgmgucJET3o- Spotify - https://open.spotify.com/episode/2Kc8kJeA9NiTugkR5saAw5- Apple Podcasts - https://podcasts.apple.com/us/podcast/181-the-cinematography-of-killers-of-the-flower/id1549901182?i=1000645277847Oppenheimer - Hoyte Van Hoytema, ASC, FSF, NSC (episode 179)- YouTube - https://youtu.be/6RFAfB5RCT0- Spotify - https://open.spotify.com/episode/2Di5azunCq4ZoBsA6ttdo4- Apple Podcasts - https://podcasts.apple.com/us/podcast/179-the-cinematography-of-oppenheimer-with-dp/id1549901182?i=1000644731650Poor Things - Robbie Ryan, BSC, ISC (episode 182)- YouTube - https://youtu.be/Sy38cINMetA- Spotify - https://open.spotify.com/episode/6Aoz7KynItLfBspCjjhgBK- Apple Podcasts - https://podcasts.apple.com/us/podcast/182-the-cinematography-of-poor-things-with-dp-robbie-ryan/id1549901182?i=1000645419205If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, please subscribe to The Dolby Creator Talks Podcast 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. 

Table of Contents: 01:30 - The Creator12:26 - Maestro23:13 - Mission: Impossible - Dead Reckoning Part One33:55 - Oppenheimer44:36 - The Zone of InterestWelcome to our continuing coverage of this year's Academy Awards®. We have compiled interviews from the nominees in the Best Sound category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch (and listen) for as you get to this category on your ballot!FULL EPISODES:The Creator (episode 165)- YouTube - https://youtu.be/JUPgZbDdTLw- Spotify - https://open.spotify.com/episode/36J65DI2AfqFKu6jzxPDZu- Apple Podcasts - https://podcasts.apple.com/ru/podcast/165-the-sound-of-the-creator-with-director-gareth-edwards/id1549901182?i=1000630007062Maestro (episode 184)- YouTube - https://youtu.be/vx9KXRYkU84- Spotify - https://open.spotify.com/episode/1MM7vRYhFFi6kcUDyuF0Cr- Apple Podcasts - https://podcasts.apple.com/us/podcast/184-the-oscar-nominated-sound-team-behind-bradley/id1549901182?i=1000645837427Mission: Impossible - Dead Reckoning Part One (episode 155)- YouTube - https://youtu.be/SJJjnIv5VcA- Spotify - https://open.spotify.com/episode/1TIbSDJ2CHCIyOBnJsKAP3- Apple Podcasts - https://podcasts.apple.com/ro/podcast/155-the-sound-of-mission-impossible-dead-reckoning-part-one/id1549901182?i=1000621729514Oppenheimer (episode 180)- YouTube - https://youtu.be/GJGxVtFX2bg- Spotify - https://open.spotify.com/episode/6DLn4JKf2lfMuyjJ4zQq9y- Apple Podcasts - https://podcasts.apple.com/us/podcast/180-the-oscar-nominated-sound-team-behind-oppenheimer/id1549901182?i=1000645197114The Zone of Interest (episode 173)- YouTube - https://youtu.be/R_TZTCQ53ss- Spotify - https://open.spotify.com/episode/2D9L5xwea1NrfiaABWuRx5- Apple Podcasts - https://podcasts.apple.com/us/podcast/173-director-jonathan-glazer-and-the-sound/id1549901182?i=1000638761975If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, please subscribe to The Dolby Creator Talks Podcast 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. 

Table of Contents: 01:55 - American Fiction - Laura Karpman13:45 - Oppenheimer - Ludwig Göransson25:48 - Poor Things - Jerskin Fendrix Welcome to our continuing coverage of this year's Academy Awards®. We have compiled interviews from the nominees in the Best Original Score category. So, if you are an Oscar voter — either as an Academy member or as a fan participating in your annual office pool — you'll have a much better idea of what to watch (and listen) for as you get to this category on your ballot!NOTE: As always, all nominees are invited to join our conversations. Unfortunately, due to scheduling, John Williams (Indiana Jones and the Dial of Destiny) was not able to join us. And as you may know, Robbie Robertson (Killers of the Flower Moon) sadly passed away this past summer at the age of 80.FULL EPISODES:American Fiction - Laura Karpman (episode 178)- YouTube - https://youtu.be/9SKt-6iUViw- Spotify - https://open.spotify.com/episode/5jbQRQvmLBvbxQ6EjShrQx- Apple Podcasts - https://podcasts.apple.com/us/podcast/178-oscar-nominee-laura-karpman-on-the-music-of/id1549901182?i=1000644320575Oppenheimer - Ludwig Göransson (episode 156)- YouTube - https://youtu.be/qZCsZCyHFRM- Spotify - https://open.spotify.com/episode/19gsiyueEWeBPKqPtBdgLt- Apple Podcasts - https://podcasts.apple.com/ie/podcast/156-the-music-of-oppenheimer/id1549901182?i=1000622416209Poor Things - Jerskin Fendrix (episode 171)- YouTube - https://youtu.be/Gf0r-Xzr35w- Spotify - https://open.spotify.com/episode/1D7MdFq51RIF0pkTC98miy- Apple Podcasts - https://podcasts.apple.com/sn/podcast/171-the-music-of-poor-things/id1549901182?i=1000638278317If you enjoy episodes like this, where we share our in-depth conversations with artists and filmmakers, please subscribe to The Dolby Creator Talks Podcast 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. 

The Academy Award®-nominated VFX team joins our returning guest, director Gareth Edwards, to discuss how they created such a visually stunning, effects-heavy science-fiction film with a comparatively minuscule budget. Rather than utilizing extensive previz, green screen studios, and fully-rendered CGI environments, “The Creator” was filmed on-location in Asia, documentary-style, with a very small crew, completely upending the usual methods of shooting for VFX:“You do concept art. That's typically one of the first things that happens — storyboards, concept art. And then you spend the rest of the life of the film chasing that artwork. They immediately say, ‘well, this is science fiction. It doesn't exist. So we'll build all this. And we have to build it in a studio…’ And you just get trapped immediately in the straight jacket of every big film ever. And everything's all green screen. And it was like, ‘Forget that. We'll have concept art. But forget the specifics of it. Just trust that it'll look as good as this. But it won't be exactly this. We'll go around the world for every scene. We will find a location that's the best location in the world for that scene. We'll shoot it there. And then we'll design it in post.’”—Gareth Edwards, Director, Producer, Co-writer, “The Creator”Joining Gareth:- Director of Photography, Oren Soffer.- Jay Cooper, Visual Effects Supervisor: Industrial Light & Magic.- Andrew Roberts, Visual Effects On-Set Supervisor: Industrial Light & Magic.Be sure to check out “The Creator,” in Dolby Vision® and Dolby Atmos® (where available), ahead of the Academy Awards, live from the Dolby Theatre® on March 10th!For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast 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.