Dolby Creator Talks

*NOTE: This episode contains spoilers.“Disclosure Day” is at once a conspiracy thriller, a first-contact story, and a wildly inventive showcase for cinematic sound. In this conversation, Gary Rydstrom, Brian Chumney, and Andy Nelson join us to discuss crafting the film’s immersive soundtrack, from its disorienting opening wrestling sequence, to Emily Blunt’s alien-clicking language, to John Williams’s score, and its many spectacular action sequences. But underneath the film’s mystery and spectacle, the sound team was guided by something much simpler and more human.“We came to the one word direction, which was: ‘Empathy.’ So the movie, any time that we can have a sense of empathy… you can connect with people or disconnect, but feel internalized with other people's feelings. That's what [director Steven Spielberg] said early on.”—Gary Rydstrom - Supervising Sound Editor, Sound Designer, Re-recording Mixer, “Disclosure Day”Joining today’s conversation:- Gary Rydstrom - Supervising Sound Editor, Sound Designer, Re-recording Mixer- Brian Chumney - Supervising Sound Editor- Andy Nelson - Re-recording MixerBe sure to check out “Disclosure Day,” now in theaters and Dolby Cinemas® in Dolby Vision® and Dolby Atmos®.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode on YouTube.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Join us for a behind-the-scenes conversation with the Oscar-nominated sound team behind “One Battle After Another,” as they share how they shaped the film’s world through sound—from intimate character moments to large-scale action. They discuss what it takes to capture great audio on set, build powerful sequences in post, and blending dialogue, effects, and music into a mix that plays on the biggest screens — plus how their collaboration with Paul Thomas Anderson guided the sonic identity of the movie from start to finish.“Knowing Paul [Thomas Anderson] — and knowing any director — something happens on set, sound-wise and [in] production, and [if] you don’t have a reference for it… it could potentially be a problem. You have the cars — the actual cars — you have the drivers, you have the road, you have the permits. Can we just spend a little time and try and get some good recordings of these vehicles? Because they’re going to be really useful. It’s such an iconic sequence. People are like, ‘oh man, that chase at the end of the movie is amazing.’ And we worked and worked and worked on that sequence trying to find what that was supposed to be.”—Chris Scarabosio, Re-recording Mixer, Supervising Sound Editor, and Sound Designer, “One Battle After Another”Joining today’s conversation:- José Antonio García - Production Sound Mixer- Tony Villaflor - Re-recording Mixer- Chris Scarabosio - Re-recording Mixer, Supervising Sound Editor, and Sound DesignerBe sure to check out “One Battle After Another,” now streaming on HBO Max, in Dolby Vision® and Dolby Atmos®.Check out our playlist of exclusive interviews with the 2026 Academy Award® nominees. 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.

Join us for our conversation with Academy Award®-nominated cinematographer Adolpho Veloso, here to discuss his stunning work on “Train Dreams.” In this episode, Veloso breaks down his natural-light approach to capturing the film’s poetic portrait of early 20th century America, from shooting digitally on the Alexa 35 to embracing a 3:2 aspect ratio inspired by old family photographs. He also shares how close collaboration with the actors, along with memory and metaphor, shaped everything from handheld camera movement to the film’s unforgettable wildfire sequence — all in service of telling an intimate story on an epic visual canvas.“It’s such a special project. I feel like everybody involved knew that in advance. And especially with Joel [Edgerton]. I can’t see anyone else playing this part, for all the possible reasons. His physicality. You believe he’s a logger. You believe he’s doing that hard work. But he is also really able to deliver everything without a lot of words, without big emotions. Everything is so subtle, so internal. It was kind of amazing to see that happening… I remember the first makeup test we did… he was like, ‘Do you mind if we change this to the other side so you shoot the other side of my face?’ He told us, ‘I just want you to see both sides, because I feel like this side makes me look more vulnerable and this side makes me feel more assured.’ He wasn't asking us to shoot any particular way, he was just so aware of himself as an actor, and also as a director himself, he was just giving us the tools so we could do whatever we wanted with those tools. But he made sure we knew that. And we obviously learned from it and we used that. So it's amazing to work with an actor that is so aware of those things.”—Adolpho Veloso, Director of Photography, “Train Dreams”Be sure to check out “Train Dreams,” now streaming on Netflix, in Dolby Atmos®.Check out our playlist of exclusive interviews with the 2026 Academy Award® nominees. 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.

The sound of “Sinners” is bold, immersive, and essential to the film’s emotional power — a standout achievement that has earned the film a spot on the shortlist for Best Sound at this year’s upcoming Academy Awards®. We’re joined by re-recording mixer and sound designer Steve Boeddeker, supervising sound editor Benny Burtt, re-recording mixer Brandon Proctor, and production sound mixer Chris Welcker to break down how they layered music, dialogue, and sound design to shape the film’s mood, rhythm, and storytelling, including that incredible sequence conjuring musical spirits from the past and the future.“This comes back to Ryan being bold and taking big swings. From the effects standpoint, this was obviously a big music moment, so we were doing whatever we could to not mess it up. We started by being very specific with anything we cut, and anything we cut, we cut in rhythm with the music… And then Ryan really just wanted to be in Sammy’s head, so it ended up being effects getting out of the way almost entirely, with just a few moments standing out.”—Benny Burtt, Supervising Sound Editor, “Sinners”Be sure to check out “Sinners,” now streaming on HBO Max, in Dolby Vision® and Dolby Atmos®.Check out our playlist of exclusive interviews with the 2026 Academy Award® nominees. 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.

GRAMMY Award®-winning producer, mixer, and engineer Ryan Hewitt joins us from his Nashville studio to discuss re-mixing the entire Oasis catalog in Dolby Atmos®. We dive into his journey from learning the craft from his father, to engineering the Red Hot Chili Peppers’ Stadium Arcadium with Rick Rubin, to building his own Stratmosphere Studios. Ryan shares insights on Dolby Atmos mixes for artists like Noah Kahan, his meticulous work preserving the power and legacy of Oasis’ iconic albums, and his experience seeing their long-awaited 2025 reunion tour at Wembley.“The idea was to honor the original mixes, note for note, as much as possible. We couldn't do electron for electron in the console, but close enough. But it has to be, it's just gotta be great. That's all there is to it. You know, I wasn't there. I don't know exactly how everything was done. But I've made enough records that I can listen to it intently for a long time, many times, and figure out how it was done. Some of the songs, some of the records, we had notes for. Which were very helpful. And others we didn't even have track sheets for. So it was a really incredible audio archeology project.”—Ryan Hewitt, Dolby Atmos Mix Engineer, Stratmosphere StudiosStay connected!- You can listen to the Oasis catalog as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services.- Follow Oasis on Instagram.- Follow Ryan Hewitt on Instagram.- Learn more about Ryan Hewitt and Stratmosphere Studios.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.

Audio Director Chris Fox and Composer Olivier Derivière sit down with guest host Alistair Hirst to explore the immersive sound of “South of Midnight,” the groundbreaking action-adventure game from Compulsion Games. Set in the American Deep South, the score skillfully weaves together traditional Southern-style music and folk songs with a dark, otherworldly essence as the player faces the eerie creatures of Southern legend. In this conversation, Fox and Derivière break down how sound design, music, and a fully realized Dolby Atmos® mix work together to pull players deep into the game’s mythic world.“It really comes back to the idea that the entities — the magic entities — we wanted to make them a character. So the kids, the kid choir that Olivier put together and recorded down in Nashville, are the stars of the show, because they really are everywhere. A lot of what you hear — there are two different samples, actually. One is the agitated samples when you get close to an object or station, and the other is the vowels we were talking about… When you do your magic, they’re in tune with the backing, the non-diegetic music that’s playing at the time… We also played with that in combat. When things get agitated all around you, that’s not just in the front — it’s surrounding you. So there’s a lot of use of space to complement the score.”—Chris Fox, Audio Director, “South of Midnight”Be sure to check out "South of Midnight," available now in Dolby Atmos, on supported systems.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. 

Legendary filmmaker Darren Aronofsky and cinematographer Matthew Libatique, ASC, LPS, join us to reflect on their three decades of creative partnership: from “Pi,” “Requiem for a Dream,” “Black Swan,” and “The Whale,” to their newest collaboration, “Caught Stealing.” In this wide-ranging conversation, they discuss the evolution of their visual language, how technology continues to reshape the craft, and the inspirations behind the kinetic, East-Village-in-the-’90s aesthetic of “Caught Stealing.” And as the industry stands on the brink of profound transformation, Aronofsky shares why he believes the future is full of opportunities for new kinds of innovative storytelling. “I think how we make films is about to change more than any other time in history. And there’s many ways that can go, many possibilities. So I think for storytellers, it’s really exciting because there’s a lot of discovery ahead of us. There’s the potential for lots of very specific, individual types of films. But I think there’s an absolute need for storytellers to be inventive and to be looking forward.” —Darren Aronofsky, Director and Producer, “Caught Stealing” Be sure to check out “Caught Stealing,” 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 on YouTube. Learn more about Sundance Collab here. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.