Sound + Image Lab: The Dolby Institute Podcast

Dolby

Sound and image are incredibly powerful tools for storytelling. Join Dolby Institute director Glenn Kiser in conversation with the artists who are using image and sound technologies creatively in some of your favorite films, TV shows, video games, and songs.

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128 - Thor: Love and Thunder and Sound Design for Comedy
12-07-2022
128 - Thor: Love and Thunder and Sound Design for Comedy
If you caught the last installment of the Thor franchise, then you already know that director Taika Waititi has taken this particular series in the Marvel Cinematic Universe into a considerably more comedic direction. And Thor: Love and Thunder continues that trend. This film has some very funny sound moments, including a jealous battle axe, Russell Crowe doing an over-the-top Greek accent, and a pair of screaming goats. Literally.  But how does creating a soundtrack for comedy — and specifically a superhero comedy — differ from crafting a typical superhero action movie? Joining us to discuss that on today's episode are the film's re-recording mixers Onnalee Blank and Brandon Proctor, supervising sound editors Daniel Laurie and Baihui Yang, and sound designer Samson Neslund. "We were like, 'well, how do we make that sound fun and magical and ridiculous, but still be grounded somehow? And actually feel like it's a boat?' I mean, that goat boat is ridiculous. And of course the goat [is] screaming. They're just screaming throughout the whole film. And we kept talking like, 'is it gonna be too much screaming? Do we outplay that joke?' You just never could get enough screams. You just need more. And [supervising sound editor] Baihui [Yang] would laugh every time a scream happened. [So] you're like, 'nope! Still working.'" — Brandon Proctor, Re-recording Mixer, Thor: Love and Thunder (Thor: Love and Thunder is in theaters now! And be sure to check it out in Dolby Vision® and Dolby Atmos® where available.) Please subscribe to Sound + Image Lab: 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).
128 - Thor: Love and Thunder and Sound Design for Comedy
12-07-2022
128 - Thor: Love and Thunder and Sound Design for Comedy
If you caught the last installment of the Thor franchise, then you already know that director Taika Waititi has taken this particular series in the Marvel Cinematic Universe into a considerably more comedic direction. And Thor: Love and Thunder continues that trend. This film has some very funny sound moments, including a jealous battle axe, Russell Crowe doing an over-the-top Greek accent, and a pair of screaming goats. Literally.  But how does creating a soundtrack for comedy — and specifically a superhero comedy — differ from crafting a typical superhero action movie? Joining us to discuss that on today's episode are the film's re-recording mixers Onnalee Blank and Brandon Proctor, supervising sound editors Daniel Laurie and Baihui Yang, and sound designer Samson Neslund. "We were like, 'well, how do we make that sound fun and magical and ridiculous, but still be grounded somehow? And actually feel like it's a boat?' I mean, that goat boat is ridiculous. And of course the goat [is] screaming. They're just screaming throughout the whole film. And we kept talking like, 'is it gonna be too much screaming? Do we outplay that joke?' You just never could get enough screams. You just need more. And [supervising sound editor] Baihui [Yang] would laugh every time a scream happened. [So] you're like, 'nope! Still working.'" — Brandon Proctor, Re-recording Mixer, Thor: Love and Thunder (Thor: Love and Thunder is in theaters now! And be sure to check it out in Dolby Vision® and Dolby Atmos® where available.) Please subscribe to Sound + Image Lab: 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).
127 - Creating a Successful Anthology TV Series - LOVE DEATH + ROBOTS Season 3
21-06-2022
127 - Creating a Successful Anthology TV Series - LOVE DEATH + ROBOTS Season 3
Quick Content Warning: There is some colorful language in this podcast episode. Listener discretion is advised. Season 3 of the eleven-time Emmy winning series LOVE DEATH + ROBOTS hit Netflix on May 20th and we are delighted to sit down with creator Tim Miller, supervising director Jennifer Yuh Nelson, and supervising sound editor Brad North to discuss how they managed to succeed where so many others have failed — creating a hit anthology television series. "It really comes down to who's doing the shorts. There's been a lot of care trying to match-make: The shorts, the stories, the directors, and the studios. You've got a whole lifetime of experience with people and studios that Tim has worked with at Blur. People that have been doing incredible content, that maybe haven't had the opportunity to do a feature yet, because of the size and experimentalism of that particular place. And to be able to hook them up with really good, solid stories that they can put all of their effort into making that, actually, great. You're not spinning a lot of wheels here. You're doing amazing. Everything goes right to the screen." — Jennifer Yuh Nelson, Supervising Director, LOVE DEATH + ROBOTS Be sure to (check out LOVE DEATH + ROBOTS, only on Netflix.) Please subscribe to Sound + Image Lab: 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).
126 - The Duffer Brothers and Stranger Things Season 4
16-06-2022
126 - The Duffer Brothers and Stranger Things Season 4
The latest season of "Stranger Things" finally returned to Netflix on May 27th and we are so excited to sit down with the creators of the show, along with several key members of the post-production team, to discuss the sound, music, and editorial process behind this wildly successful series.  This is a supersized episode of the podcast with a TON of bonus guests. Joining us are the creators (as well as writers and directors) Matt and Ross Duffer; composers Kyle Dixon and Michael Stein; re-recording mixers Mark Paterson, Craig Henighan (also the sound supervisor), and Will Files (also the supervising sound editor); and the editor of the series, Dean Zimmerman. This conversation offers an incredible glimpse into the creative process of what makes "Stranger Things" work so well. And it's apparent from this conversation that it has a lot to do with how much this team trusts each other in order to work so seamlessly together. "Yeah, there's a lot of people who work on the show. But in terms of making big, big decisions, say in post-production, shaping the sound and the music of the show, it's a pretty, actually, tight knit group. And I think we've all gotten to the point where we really respect and trust each other. And then it's just a creative collaboration... It feels weirdly the same as it did season one." — Matt Duffer, Co-Creator, "Stranger Things" Be sure to (check out "Stranger Things," only on Netflix.) Please subscribe to Sound + Image Lab: 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).
125 - Colin Trevorrow and the Sound of Jurassic World Dominion
14-06-2022
125 - Colin Trevorrow and the Sound of Jurassic World Dominion
The newest and final installment of the Jurassic World franchise roared into theaters on Friday and we are delighted to share this conversation with director Colin Trevorrow and his sound team, to discuss how they crafted the soundtrack to this latest dinosaur Summer blockbuster. On today's podcast: — Colin Trevorrow, Director and Co-writer  — Christopher Boyes, Re-recording Mixer  — Pete Horner, Re-recording Mixer  — Al Nelson, Sound Designer and Supervising Sound Editor  — Gwendolyn Yates Whittle, Supervising Sound Editor  Jurassic World Dominion features another monstrous soundtrack that these dinosaur epics are known for. But as you might have guessed, keeping those big action set pieces sonically coherent enough for an audience to actually enjoy is a very complicated, but also enjoyable, challenge for the sound team. "One thing that we take for granted as humans, when we walk into a chaotic environment, our brains are actually mixing that environment for us. Where what we choose to focus determines what we're actually hearing. In a theater, we have to do that for the audience. If we just put all the sound in, then you don't hear anything — because it's chaotic and our brains are not able to do that in a theatrical setting. So as mixers, Chris and I are collaborating, trading off, 'OK, this is a moment for dialogue. This is a moment for dinosaurs...' And then in the midst of it, somehow there's an orchestra playing. And so we have to also make room for themes, which are incredibly important to how you experience the scene and feel about it. So that's the challenge and, honestly, the excitement of doing a scene like that. You have everything at your fingertips and you have to decide, 'What are we hearing here? What are we hearing here?' So it's really fun." — Pete Horner, Re-recording Mixer, Jurassic World Dominion Be sure to check out Jurassic World Dominion in theaters, and ideally at a Dolby Cinema, near you! ( subscribe to Sound + Image Lab: 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).
124 - Revisiting Jurassic Park’s Groundbreaking Sound Design with Gary Rydstrom
02-06-2022
124 - Revisiting Jurassic Park’s Groundbreaking Sound Design with Gary Rydstrom
Legendary sound designer and re-recording mixer Gary Rydstrom joins us once again, this time to discuss his groundbreaking work on Steven Spielberg's classic film, "Jurassic Park" (1993), ahead of the upcoming premiere of the final film in the franchise — "Jurassic World: Dominion." Amazingly, even nearly 30 years later, Rydstrom's work on the original film still holds up incredibly well. "I have a theory that — especially in the early days of computer graphics — sound needed to be real. Even more so, like real sounds. Synthesized sounds are hard to do [and] not so interesting, usually. So I knew we needed to be real. But in this case, it has to ground visuals that you can't believe, right? So the sound had to be organic and real. So the first thing I did is record as many animals as I could." — Gary Rydstrom, Sound Designer and Re-recording Mixer, "Jurassic Park" (1993) Rydstrom and his team recorded dozens of animals and layered those tracks together to create the unforgettable sounds of the dinosaurs, as showcased in the behind-the-scenes documentary: "The Making of 'Jurassic Park,'" directed by John Schultz, which we feature in today's episode: ( World: Dominion" will be available in theaters on June 10th in Dolby Vision® and Dolby Atmos®, where available. ( subscribe to Sound + Image Lab: 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).
122 - Daniels and the Music of Everything Everywhere All at Once
21-04-2022
122 - Daniels and the Music of Everything Everywhere All at Once
Part two (of two) of our exclusive, in-person interview with the filmmakers. If you missed part one, be sure to check out that episode (#121) from earlier this week, which you can find (wherever you get your podcasts.) Joining us again are directors Daniel Kwan and Daniel Scheinert (known collectively as "Daniels"), as well as the film's sound designer and sound effects editor, Andrew Twite, and the re-recording mixer and sound supervisor, Brent Kiser. Today we're devoting the entire episode to the music of "Everything Everywhere All at Once" because it was such an intensive process. So much so that the composers, the indie band Son Lux (comprised of members Ryan Lott, Ian Chang, and Rafiq Bhatia) spent an unusually long time working very, very closely with the filmmakers on this project: "They came on before we started photography. They helped us write some songs that needed to be on camera. Like the fake musical and stuff. They gave us their entire library of all their personal projects, as well as all their records [and] instrumental versions. And we cut the whole movie to their music. And then they were on during the whole edit, working on the score. So they were part of the project for over two years and created over two hours of original music." — Daniel Scheinert, co-director, co-writer, and co-producer, "Everything Everywhere All at Once" If that sounds like a lot, that's because it was. As part of this episode, we also speak with Ryan Lott, the founding member of Son Lux, to describe his journey working on this film and all its many parts, including crafting different musical styles for each multiverse, collaborating (and singing a duet!) with Randy Newman, as well as discovering the artistic potential of working in Dolby Atmos®. "There were times where we were very specific about 'the front wall' and keeping most things really focused on the front wall. And then, finding moments and specific elements too that could basically embrace you, sonically. And I started to think, during that mix, how that is a musical choice. That's an artistic choice. That's not just a technology choice. That's not just an engineering thing." — Ryan Lott of Son Lux, composer, "Everything Everywhere All at Once" (Be sure to check out "Everything Everywhere All at Once" at a cinema near you, now playing in Dolby Atmos®, where available.) (Many thanks to our friends at A24 for helping us pull this conversation together! ) If you enjoyed this two-part conversation with the filmmakers, please subscribe to Sound + Image Lab: The Dolby Institute Podcast (wherever you get your podcasts), as we have many more episodes just like this one coming up in the near future! 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).
121 - Daniels and the Sound of Everything Everywhere All at Once
19-04-2022
121 - Daniels and the Sound of Everything Everywhere All at Once
Part one (of two) of our exclusive, in-person interview with the filmmakers of this mind-blowing new film, now playing in cinemas.  We are joined by the directors Daniel Kwan and Daniel Scheinert (known collectively as "Daniels"), as well as the film's sound designer and sound effects editor, Andrew Twite, and the re-recording mixer and sound supervisor, Brent Kiser. If you haven't seen "Everything Everywhere All at Once" yet, it is an incredible example of genre-bending experimentation taken to the absolute extreme. And the directors worked closely with the sound team, in order to craft one of the biggest independent action films in recent memory. "We knew we wanted to create something that somehow bridged the gap between big blockbuster action films and really intimate risk-taking indie films. And we wanted to find a way to do both at the same time. To carve out space for independent films in theaters, because that's something that's slowly being carved out more for these big, big IP blockbuster films. And we wanted to create a family drama that could basically stand up against those films. So we knew we wanted to make it really entertaining, but also we wanted to give ourselves a challenge of creating a multiverse film — that actually stared at infinity and actually went all the way to its logical, terrifying conclusion — and yet still pulled you back from the brink of meaninglessness and gave you a warm hug by the end." — Daniel Kwan, co-director, co-writer, and co-producer, "Everything Everywhere All at Once" To see just how the filmmakers pulled off that incredible challenge, (be sure to check out "Everything Everywhere All at Once" at a cinema near you, now playing in Dolby Atmos®, where available.) (Many thanks to our friends at A24 for helping us pull this conversation together! ) Remember: This is only PART ONE of our conversation with the filmmakers of "Everything Everywhere All at Once." Please subscribe to Sound + Image Lab: The Dolby Institute Podcast (wherever you get your podcasts), so that you don't miss PART TWO, which will debut later this week. 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).
119 - Best Animated Feature Film Nominees: Academy Awards 2022
18-03-2022
119 - Best Animated Feature Film Nominees: Academy Awards 2022
Welcome to our continuing coverage of this year's Academy Awards®. Like last year, we have compiled interviews from the nominees in the Best Animated Feature Film 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 for as you get to this category on your ballot! Here are the nominated films, in alphabetical order: (ENCANTO): Jared Bush, Byron Howard, Yvett Merino, and Clark Spencer (FLEE): Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen, and Charlotte De La Gournerie (LUCA): Enrico Casarosa and Andrea Warren (THE MITCHELLS VS. THE MACHINES):  Mike Rianda, Phil Lord, Christopher Miller, and Kurt  Albrecht (RAYA AND THE LAST DRAGON): Don Hall, Carlos López Estrada, Osnat Shurer, and Peter Del Vecho Here's a table of contents of interviews, in case you'd like to jump around: 0:01:28 — ENCANTO - Byron Howard and Yvett Merino 0:21:15 — LUCA - Enrico Casarosa  0:37:51 — THE MITCHELLS VS. THE MACHINES - Mike Rianda, Phil Lord, and Christopher Miller 1:03:02 — RAYA AND THE LAST DRAGON - Carlos López Estrada and Osnat Shurer NOTE: As always, all nominees were invited to join our conversations and we regret that we weren't able to connect with the talented filmmakers behind FLEE in time for our podcast posting deadline. Thanks to all the studios for helping us pull these interviews together! Be sure to check out ( ) (ENCANTO), ( ) (FLEE), ( ) (LUCA), ( THE MITCHELLS VS. THE MACHINES) and ( RAYA AND THE LAST DRAGON) before Oscars voting ends! Please subscribe to Sound + Image Lab: 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).
118 - Best Cinematography Nominees: Academy Awards 2022
15-03-2022
118 - Best Cinematography Nominees: Academy Awards 2022
Welcome to our continuing coverage of this year's Academy Awards®. Like last year, 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 for as you get to the Best Cinematography category on your ballot! Here are the nominated Directors of Photography, in alphabetical order by film: (DUNE): Greig Fraser (NIGHTMARE ALLEY): Dan Laustsen (THE POWER OF THE DOG): Ari Wegner (THE TRAGEDY OF MACBETH): Bruno Delbonnel (WEST SIDE STORY): Janusz Kaminski Here's a table of contents of interviews, in case you'd like to jump around: 0:01:48 — DUNE — Greig Fraser 0:15:51 — NIGHTMARE ALLEY — Dan Laustsen  0:38:35 — THE POWER OF THE DOG — Ari Wegner NOTE: As always, all nominees were invited to join our conversations and we regret that Bruno Delbonnel and Janusz Kaminski were unavailable to join us in time for our podcast posting deadline. Thanks to all the studios for helping us pull these interviews together! Be sure to check out ( ) (DUNE), (NIGHTMARE ALLEY), (THE POWER OF THE DOG), (THE TRAGEDY OF MACBETH )and ( WEST SIDE STORY) before Oscars voting ends! We have one more episode of our special Academy Awards® coverage, coming coming in the next few days. That episode is devoted to the Best Animated Feature category.  So if you haven't already, please subscribe to Sound + Image Lab: 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).
117 - The Cinematography of The Batman
10-03-2022
117 - The Cinematography of The Batman
Director Matt Reeves joins us again this week to discuss The Batman. This is part 2 of our special 2-part episode on this movie, where we discuss the film's incredible cinematography. If you haven't already, be sure to check out part 1, where we break down the sound and music of The Batman, in our podcast archive from earlier this week, or on YouTube: ( Matt is Director of Photography Greig Fraser (who joins us separately, later in this episode, as he is currently on location in London), and Supervising and Lead Digital Colorist, David Cole.But this episode is not just a deep dive into the technical aspects of their fascinating post-production process, but also includes details on how Matt and Greig managed to make such an epic movie feel like you, in the audience, were right there in the middle of all the action. "When we shot things, even like the Batmobile chase, even though there's a tremendous amount of visual effects in the movie, I didn't want you to be aware that we were doing them at all. And so we always used the parameters of how you would do it if you were doing it practically. And so [with] the Batmobile chase, we're putting cameras and we're locking them onto hard mounts, so you're watching a lot of hard mounts and that kind of stuff. And then, 'what's in focus?' And it's in the middle of rain. And 'what does that rain look like?' And there were times when Greig would take a filter and put a little bit of silicone on it... so that when you put it in front of the lens and when it got wet, you had the sense that it wasn't just that we were in rain that was perfectly photographed. The lens itself got wet. So you feel like you're in the middle of it. And so everything was about putting you squarely in that experience." — Matt Reeves, Director, Co-Writer, and Producer, "The Batman" Be sure to (check out The Batman) at a Dolby Cinema near you. Please subscribe to Sound + Image Lab: 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).
116 - The Sound and Music of The Batman
08-03-2022
116 - The Sound and Music of The Batman
Director Matt Reeves joins us this week to discuss The Batman. This is part 1 of our special 2-part episode on this film, since there is so much to discuss with Matt and his team. So be sure to check out part 2, where we discuss the cinematography of The Batman, which will debut this Thursday! In this episode we are joined by Matt and his incredible team of sound and music artists: Michael Giacchino - Composer Will Files - Supervising Sound Editor Douglas Murray - Supervising Sound Editor Andy Nelson - Re-Recording Mixer Somehow, despite their very busy schedules, we managed to spend over an hour together (in-person!) discussing the amazing work this team did. And as you'll soon discover, this is a group that works incredibly well together, each bringing their exceptional creativity and craft to the process. But we also spend a lot of time discussing how Matt manages to bring everything together so seamlessly as the director: "You have to become an emotional compass. To me, that is the job of the director. Because you have so many incredibly creative people who you're working with. Here: I make a movie in my head and a piece of paper — that's one version of the movie. And it's a very narrow band of what that movie could be. And then you work with these artists and you want everyone to bring something... And I have to be an emotional compass to say, 'that idea is great! That idea really works!' Somebody has to do that. And the way you do that is by immersing yourself into that thing." — Matt Reeves, Director, Co-Writer, and Producer, "The Batman" This episode is a master class in filmmaking and collaboration, with a ton of insights into the process of crafting this latest superhero epic. Be sure to (check out The Batman) at a Dolby Cinema near you. Please subscribe to Sound + Image Lab: 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).
115 - Best Sound Nominees: Academy Awards 2022
01-03-2022
115 - Best Sound Nominees: Academy Awards 2022
Welcome to our continuing coverage of this year's Academy Awards. Like last year, we have compiled interviews from each of 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 for and (more importantly) what to listen for as you get to the Best Sound category on your ballot! Here are the nominees, in alphabetical order: BELFAST: Denise Yarde, Simon Chase, James Mather and Niv Adiri DUNE: Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett NO TIME TO DIE: Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor THE POWER OF THE DOG: Richard Flynn, Robert Mackenzie and Tara Webb WEST SIDE STORY: Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy Each of these interview excerpts is taken from our full episodes dedicated to the sound design of each of these incredible films. Here's a table of contents, in case you'd like to jump around, as well as links to the full episodes from our back catalogue: 0:01:33 - BELFAST - (from episode 104, December 9, 2021) Sir Kenneth Branagh — Director, Writer, and Producer  Simon Chase — Sound Supervisor and Re-recording Mixer Niv Adiri — Academy Award-Winning Re-recording Mixer James Mather — Sound Supervisor 0:16:56 - DUNE - (from episode 99, October 26, 2021) Denis Villeneuve — Director, Writer, and Producer Mark Mangini — Supervising Sound Editor Theo Green — Sound Designer / Supervising Sound Editor Ron Bartlett — Re-recording Mixer 0:33:02 - NO TIME TO DIE - (from episode 101, November 10, 2021) Oliver Tarney — Supervising Sound Editor Paul Massey — Re-recording Mixer Mark Taylor — Re-recording Mixer 0:46:04 - THE POWER OF THE DOG - (from episode 105, December 13, 2021) Jane Campion — Director, Writer, and Producer Robert Mackenzie — Supervising Sound Editor Dave Whitehead — Sound Designer Tara Webb — Re-recording Mixer (1st nom) 0:57:39 - WEST SIDE STORY - (from episode 114, February 22, 2022) Gary Rydstrom - Re-recording Mixer, Supervising Sound Editor, Sound Designer Shawn Murphy - Scoring Mixer Brian Chumney - Supervising Sound Editor Tod A. Maitland - Sound Mixer Andy Nelson - Re-recording Mixer Many thanks to all the studios for helping us pull these interviews together! Be sure to check out (BELFAST), (DUNE), (NO TIME TO DIE), (THE POWER OF THE DOG), and (WEST SIDE STORY) before Oscars voting ends! We have two more episodes just like this one — for the Best Cinematography and Best Animated Feature categories —  coming up. So if you haven't already, please subscribe to Sound + Image Lab: 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).
114 - The Sound of Steven Spielberg's West Side Story
22-02-2022
114 - The Sound of Steven Spielberg's West Side Story
If it seems like the Hollywood musical is making a comeback, that's because, in many ways, it is. And after decades of promising to one day direct one, legendary filmmaker Steven Spielberg finally decided to tackle a new interpretation of "West Side Story." The film is now nominated for seven Academy Awards, including Best Cinematography, Best Director, Best Picture, and Best Sound. Joining us today is the sound team behind this film, who collectively took great pains to use as many modern recording techniques available to them to create this impressive, cutting-edge soundtrack. Gary Rydstrom - Re-recording Mixer / Sound Designer / Supervising Sound Editor - this is his 20th  Academy Award nomination (seven wins) Shawn Murphy - Scoring Mixer - fourth nomination (one win) Brian Chumney - Supervising Sound Editor - first nomination Tod A. Maitland - Sound Mixer - fifth nomination Andy Nelson - Re-recording Mixer - 22nd nomination (two wins) "I think the most remarkable thing in this movie is you never, for one second, don't believe that the singing you're hearing, or the acting you're hearing, is not happening on that set. It feels completely believable at every time. And seamlessly goes in and out of the music. I've never heard a musical be that seamless before. I think that's one of the great achievements of this particular movie." — Gary Rydstrom, Re-recording Mixer / Sound Designer / Supervising Sound Editor, "West Side Story" ("West Side Story" is now playing in cinemas) and will be streaming on HBO Max and Disney+ as of March 2, 2022.  Please subscribe to Sound + Image Lab: 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).
112 - "One Billion Guns!" Sound Design for Video Game Weaponry with Gearbox Software
25-01-2022
112 - "One Billion Guns!" Sound Design for Video Game Weaponry with Gearbox Software
We conclude our special coverage of sound design for video games by interviewing the sound team at Gearbox Software, which famously created "over one billion guns" for its latest first-person shooter, Borderlands 3. So how exactly does a team design the sound for so many different guns? Turns out, it's actually kinda fun. "The godsend was the fact that we have a good set of field recording gear internally anyway and... we live in Texas. So, there's lots of people with lots of guns and lots of places, lots of space. So outside of the formal gun shoots that we did, which was really only one — formal gun shoot — we did a whole lot of side shoots here, locally, just us. And some of that was experimentation. Some of that was filling holes. We were learning as we were going. Where we needed more content, where we needed different types of content, different perspectives, different tales. Those kinds of things. And we would go out and do those shoots." — Mark Petty, Audio Director, Gearbox Software Thanks again to (Gearbox Software) for joining us this week! (Borderlands 3 is currently available on your favorite video game platforms). Please subscribe to Sound + Image Lab: 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).
111 - Leading with Sound in Video Game Development with Rob Bridgett
18-01-2022
111 - Leading with Sound in Video Game Development with Rob Bridgett
As we continue to delve into the world of sound design for gaming, we have a special conversation to share with you today with one of the heavy hitters in this space — Rob Bridgett.  Rob is something of a visionary in their field and has a new book called, "Leading with Sound: Proactive Sound Practices in Video Game Development," where they share some of their fascinating insights and philosophy on crafting soundtracks for video games. "I talk about the topic of leading with sound through each one of those subject areas [music, sound, dialogue, and mix]. What are the opportunities for sound designers or composers or dialogue designers? What are the opportunities that they may be missing early in pre-production or production and try to deemphasize this idea of post-production. I know it's something that I've spent a lot of my time trying to create and defend in video games. And I still maintain that we 100% have to have post-production time and we have to be the last part of the baton race. I'm not arguing for that to go away. That's still critical, it feels like those are the gates of Valhalla for us, in audio. It's like once we arrive at post-production, we should already have all this other stuff figured out." — Rob Bridgett, Audio Director, "Shadow of the Tomb Raider" Our colleague Andy Vaughan discusses the book, as well as Rob's work on "Shadow of the Tomb Raider," their overall career, and some of the exciting new experimentation they're doing in partnership with McGill University. You can (learn more about Rob and check out their book here). Please subscribe to Sound + Image Lab: 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).
109 - The Sound of Ghost of Tsushima
11-01-2022
109 - The Sound of Ghost of Tsushima
Since so much groundbreaking sound work is being created in the world of gaming these days, we've decided to dedicate the next few episodes of this podcast to some of the superstars behind your favorite new video games. Continuing that ongoing coverage, today our colleague Alistair Hirst sits down with the sound team behind "Ghost of Tsushima," a giant open world Samurai action game set in feudal Japan. The team took painstaking steps to give players as authentic and immersive an experience as possible.  "We did an immense amount of research. Every single team did, because we're really having to learn this entire historical time period. It really happened, it really existed. And while taking creative liberties where necessary, we still wanted to do the time period and the content justice... It was just constant research and going out in the field and recording. We employed our team at Sony Japan studio... to go record throughout the main island of Japan, to capture a lot of ambience for us. And all of these things really helped inform how the game was going to sound." — Brad Meyer, Audio Director, "Ghost of Tsushima" Be sure to check out ("Ghost of Tsushima," available now on PlayStation 4 and PlayStation 5). Please subscribe to Sound + Image Lab: 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).