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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.
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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, “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.
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Saknas det avsnitt?
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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 Fitzgerald
Be 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.
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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 Director
Today’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
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2-time Academy Award®-winning composer Hans Zimmer joins us on the podcast to discuss his work on “Dune: Part Two,” 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:
“These 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 — I loved them all — 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 ‘Alien’ or ‘Star Wars.’ They're phenomenal things. But I saw my duty very much as going beyond that.”
—Hans Zimmer, Composer, “Dune: Part Two”
Be sure to check out “Dune: Part Two,” now in theaters, in Dolby Vision® and Dolby Atmos®, where available.
Don’t miss our previous episode this week, with “Dune” 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 Award®-winning Director of Photography Greig Fraser, ACS, ASC, returns to the podcast to discuss his work on “Dune: Part Two.” 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:
“Whenever 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, ‘dream bigger.’ 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.“
—Greig Fraser, ACS, ASC, Director of Photography, “Dune: Part Two”
Be sure to check out “Dune: Part Two,” now in theaters, in Dolby Vision® and Dolby Atmos®, where available.
Don’t miss our upcoming episode with “Dune” 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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Table of Contents:
01:28 - El Conde - Edward Lachman, ASC
12:53 - Killers of the Flower Moon - Rodrigo Prieto, ASC, AMC
24:12 - Oppenheimer - Hoyte Van Hoytema, ASC, FSF, NSC
33:29 - Poor Things - Robbie Ryan, BSC, ISC
Welcome 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=1000645550716
Killers 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=1000645277847
Oppenheimer - 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=1000644731650
Poor 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=1000645419205
If 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.
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Table of Contents:
01:30 - The Creator
12:26 - Maestro
23:13 - Mission: Impossible - Dead Reckoning Part One
33:55 - Oppenheimer
44:36 - The Zone of Interest
Welcome 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=1000630007062
Maestro (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=1000645837427
Mission: 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=1000621729514
Oppenheimer (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=1000645197114
The 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=1000638761975
If 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.
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Table of Contents:
01:55 - American Fiction - Laura Karpman
13:45 - Oppenheimer - Ludwig Göransson
25:48 - 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=1000644320575
Oppenheimer - 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=1000622416209
Poor 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=1000638278317
If 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.
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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.
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Continuing our coverage of the 2024 Academy Awards®, we have another all-star team of sound artists whose work on “Maestro” is nominated in the Best Sound category.
Today’s panel includes:
- Richard King, Sound Designer & Supervising Sound Editor.
- Tom Ozanich, Re-recording Mixer.
- Dean A. Zupancic, Re-recording Mixer.
- Steven Morrow, Production Sound Mixer.
“Maestro” is a highly stylized yet intimate film about Leonard Bernstein: his fraught marriage, his affairs, his family, and - of course - his storied career. This gave director Bradley Cooper an amazing opportunity to conduct extensive recreations of some of the composer’s famous concerts, all recorded live on set — including that unforgettable concert at Ely Cathedral:
“We shot for the first day and, in Bradley's words, he was saying he wasn't really feeling it. He was just nervous about the whole thing. Because it's decades of building up to this moment, in front of the best orchestra in the world, and you're pretending to be the conductor. And the pressure that you're putting on yourself to be perfect and you're just not hitting it. And so he came in the next day and said, ‘let me do it one more time, and let's just do this one shot where the camera goes around… Our film is really just this big wide shot. Let's shoot this shot with a crane. Come all the way around, come back around, by the end of the song, be over Felicia's shoulder, and that's it.’ We shot that on the last day, the last take. And that was it. I mean, that was done. As soon as that take was over, everybody knew we had it.”
—Steven Morrow, Sound Mixer, “Maestro”
Be sure to check out “Maestro,” now streaming on Netflix in Dolby Vision® and Dolby Atmos®, 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.
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Legendary cinematographer Edward Lachman, ASC, joins us to discuss his Academy Award®-nominated cinematography for “El Conde,” Chilean filmmaker Pablo Larraín’s satirical horror-comedy which reimagines Augusto Pinochet as a 250-year old vampire. The film features stunning black & white photography, which required the invention of a new kind of camera sensor in order to capture the unique look and feel of the film. Edward discusses that, his use of vintage glass, and the advantages of having his director as camera operator:
“He's excellent. He's always been around the camera, he studied still photography at one time, and he's very good with wheels. They always say the first audience is the operator — and that's why I like to operate. But there was so much I had to do with the language [barrier]. The key grip, Mumford — who's a wonderful key grip — didn't speak English. So [Pablo] had the direct communication to the grip about moves and the crane. So it made sense that he operate. And then that gave me the freedom to do what I could do with the electrical [department].”
—Edward Lachman, ASC, Director of Photography, “El Conde”
“El Conde” is now streaming on Netflix, in Dolby Vision® and Dolby Atmos®. Be sure to check it out 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.
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Our coverage of the 2024 Oscars continues in this episode with our guest, Robbie Ryan, BSC, ISC. Robbie is a two-time Academy Award® nominee for Cinematography.
In today’s episode, he discusses his second collaboration with director Yorgos Lanthimos on the film "Poor Things," following their acclaimed work together on "The Favourite," which earned Robbie his first nomination for Best Cinematography. This year, "Poor Things" boasts 11 Academy Award nominations, including Best Director for Lanthimos and Best Picture. In this wide-ranging conversation, Robbie explains how he crafted the film’s unique, almost dreamlike look, which was mostly captured in-camera, and on film, without post-production effects:
“[Yorgos] wanted to have a kind of porthole, vignetted, wide angle [aesthetic]… And I'd kind of done a bit of photography lately where there's a lot of lenses [that] don't fit on the large format sensor, so you get this vignette. So I said, ‘well, hang on — if we use a 16 mil lens on a 35 mil negative, that might happen.’ And it worked out really perfect. We had this 4mm lens for 16 mil, that when you put it on 35 mil, just had that perfect circle… You get these aberrations around the very edges of it and it has this organic quality to it, which was very sweet… None of that was post. That was all real.“
—Robbie Ryan, BSC, ISC, Director of Photography, “Poor Things”
Be sure to check out “Poor Things” 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.
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With our continuing Oscars coverage, today we are joined by Academy Award®-nominated cinematographer Rodrigo Prieto, ASC, AMC. He discusses how he got his start in the film business, working with legendary director Martin Scorsese, the challenges of shooting “Killers of the Flower Moon,” as well as how his research into Osage traditions and rituals became directly woven into his photography for the film.
“A lot of it I remember was based on the sun and the sun position. And even the rituals. For example, a burial happens when the sun is at the zenith. So okay, that's usually a time of day you don't want to shoot as a cinematographer. You want to avoid it. But I thought it was important to respect that. And so we decided to have the sun in frame in those moments. And that's why precisely there's a scene of Mollie's mother's burial and the camera's looking straight up at the sky. These are shots that aren't meant to be cool. We're honoring, hopefully, the way they themselves honor the sun.”
—Rodrigo Prieto, ASC, AMC, Director of Photography, “Killers of the Flower Moon”
Be sure to check out “Killers of the Flower Moon” ahead of the Academy Awards, live from the Dolby Theatre® on March 10th!
Please subscribe to The Dolby Institute 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.
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We have an all-star team of sound artists whose work on “Oppenheimer” is nominated for a 2024 Academy Award®. They are certainly no strangers to that award show, as they already have NINE Oscars between them!
Today’s panel includes:
- Richard King - Sound Designer and Supervising Sound Editor
- Gary A. Rizzo - Re-recording Mixer
- Kevin O’Connell - Re-recording Mixer
- Willie D. Burton - Production Sound Mixer
We discussed how they approached getting inside the head of the brilliant but troubled “Father of the Atomic Bomb,” J. Robert Oppenheimer, as well as working with the brilliant, and very particular director Christopher Nolan, who loves working with IMAX cameras so much, he used some unconventional methods to record the dialogue.
“The IMAX camera is very noisy. Usually [Nolan] would do the wide shots with the IMAX camera and then he'll use the 70mm for dialogue. But there's times that we have short scenes — like three, four, five lines. But what we have to do is — he will say, ‘cut, print,’ and the actors will re-act that scene, just like they did it on camera. Re-doing it, wild. The same pacing. Oh yeah… We try to get everything we can for post, knowing that he wants to use all his original track on production. Now, whether he totally used it all? [But] I think he used most of it.”
—Willie D. Burton, Production Sound Mixer, “Oppenheimer”
Be sure to check out “Oppenheimer” 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.
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As part of our continuing Oscars coverage, we are joined by Academy Award®-nominated cinematographer Hoyte Van Hoytema, ASC, FSF, NSC. He discusses how he got his start in the film business, working with Christopher Nolan, shooting “Oppenheimer” on film, how they did all those in-camera practical effects, and his fears about creating a dynamically visual film… with so much dialogue.
“I was scared sh**less in the beginning, because you are very much out of your comfort zone. In the old days - when in doubt - throw in a wide shot, throw in a vista, and give the people breathing space, et cetera. But this was full-on, very intense, on the human face all the time. So there was a challenge. But also, I think, a very fun one. It definitely brings you to a state of mind where you have to really focus on what is being said and on the progression of the story.”
—Hoyte Van Hoytema, ASC, FSF, NSC, Director of Photography, “Oppenheimer”
Be sure to check out “Oppenheimer” 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.
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Five-time Emmy Award-winning composer Laura Karpman joins guest host Jon Burlingame to discuss her first Academy Award® nomination for the music of “American Fiction.” Karpman took a rather unique approach to composing this “jazzy” score, by thinking of the actors’ voices as musical instruments themselves.
“There's a lot of dialogue. And the way the score is constructed is using the actors — particularly Erika Alexander, who plays Coraline, his love interest, and then Jeffrey [Wright], who plays Monk — using their voices as musical instruments. Jeffrey has a great tenor sax vibe, and Coraline has got this sexy alto. And so when they speak, it's under a rhythm section. And then the saxophones and Elena Pinderhughes on flute will come in to kind of move around that. But I did think of the actors as part of the jazz combo, with a rhythm section backing them up.”
—Laura Karpman, Composer, “American Fiction”
Be sure to check out “American Fiction” 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.
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Recorded live just a few days ago 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 five filmmakers, each with debut feature films in the US Dramatic Competition this year.
“I have experienced what all five or panelists are experiencing right now. It's this insane, adrenaline rush of playing your first movie for groups of audiences who love film. And it's the most magical thing in the world. So we're so happy that all five people who you're about to meet agreed to come here to share a little bit about how they ended up here. And I hope you got to see some of these films because I got a chance to see all five and they're all truly magical.”
—Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime”
Today’s panel includes directors:
- Alessandra Lacorazza (“In the Summers”)
- Laura Chinn (“Suncoast”)
- Titus Kaphar (“Exhibiting Forgiveness”)
- India Donaldson (“Good One”)
- Sean Wang (“Dìdi”) — 2024 Academy Award-nominee for Best Documentary Short Film (“Nǎi Nai and Wài Pó”) and Winner of the Dolby Institute Fellowship (“Dìdi”)
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).
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 The Dolby Institute 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.
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Academy Award-nominated composer Daniel Pemberton (“The Trial of the Chicago 7”) joins our guest host, music journalist Jon Burlingame, to discuss his score for the latest animated Spider-Man film. If you’ve seen it, then you already know it features incredible, cutting-edge animation. But it turns out Daniel’s approach to the score was equally “experimental.”
“As soon as I finished ‘Into the Spider-Verse,’ I was thinking about ‘Across [the Spider-Verse]’ because… as a composer, you don't often get a chance to have a kind of playground where you really can be very experimental and really push at the edges of what film music can be. And obviously, you want to try and do that. But not every movie will support that kind of approach. And with Spider-Verse, it really did. So I was very aware — if there was a sequel — of trying to build on what we created on the first one. Rather than say, ‘well we did this thing that was successful, let's just more of the same.’ It's more like, ‘let's see how much further we can push it.’”
— Daniel Pemberton, Composer, “Spider-Man: Across the Spider-Verse”
Be sure to check out “Spider-Man: Across the Spider-Verse,” in Dolby Vision® and Dolby Atmos®, now streaming on Netflix.
Please subscribe to The Dolby Institute 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.
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Director Carlos López Estrada — Academy Award® nominee for “Raya and the Last Dragon” and winner of the Dolby Institute Fellowship — returns to The Dolby Institute Podcast for another panel discussion, this time with members of Sundance. More than just a film festival, The Sundance Institute offers a myriad of resources for emerging and independent filmmakers, but navigating them all can be overwhelming. So this very special podcast episode is designed to answer this essential question, from Carlos:
“What advice can [you offer] for someone who’s just starting to make their own work — whether it’s shorts, documentaries, pilot scripts — and are trying to create from a truthful place, [while] also trying to find their voice, and wanting to be noticed by people like yourselves, knowing that many times resources and time is limited for someone who’s just starting?”
—Carlos López Estrada, Director, "Blindspotting,” “Raya and the Last Dragon,” “Summertime”
Today’s panel includes:
Ilyse McKimmie - Deputy Director of the Feature Film Program at Sundance InstitutePaola Mottura - Film Fund Director at Sundance InstituteJandiz Estrada Cardoso - Director of the Sundance Institute Episodic ProgramAna Souza - Manager of the Programming Department and Programmer at Sundance InstituteAdam Piron - Director of Sundance Institute's Indigenous ProgramOnce again, this discussion was streamed live as part of Antigravity Academy’s Satellite Sessions — “monthly conversations with incredibly exciting figures from the film and TV universe” — co-presented by CAPE USA (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 The Dolby Institute 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.
- Visa fler
