Movie Tickets and Showtimes
Dolby Digital Plus
Speaker Setup Guides
PC and Mobile
Dolby Conference Phone
Dolby Voice Documentation
Dolby Conference Phone Support
A/V Installers and Retailers
Dolby Customer Portal
Warranty and Maintenance
In each episode, the artist talks with the Dolby Institute's Glenn Kiser and SoundWorks Collection's Michael Coleman about the challenges and opportunities the artist faced while building the soundscapes you enjoy.
Randy Thom, director of sound design at Skywalker Sound, discusses how writers and directors can use sound as a tool to tell their stories, the importance of Apocalypse Now to modern sound design, his work with director Robert Zemeckis on Cast Away, and more.
Game soundtracks are no longer about the beeps and bloops of our childhood past. Explore sound design from Rob Krekel and Phillip Kovats of Naughty Dog Studios, one of the most advanced video game production houses in the world. Playing video games isn't just about what you see on the screen, it's about what you hear around you—and in the surrounds.
Creative sound design is important in documentaries, even though it's rarely the first thing that audiences think about. Sound designer/mixer Coll Anderson discusses the role that creative postproduction sound can serve in telling nonnarrative stories.
Ten-time Academy Award® nominee Anna Behlmer talks about being one of the first female mixers in the movie business, strategies for handling a nervous director, and why you will always find colored Sharpie pens on a mixing stage.
In this episode, two-time Academy Award nominee Gwen Yates Whittle talks with Glenn Kiser about why director George Lucas thinks dialogue editing is one of the most important parts of the process.
In discussing his work on Battlestar Galactica and Marvel's Agents of S.H.I.E.L.D., Emmy® award-winning sound designer Daniel Colman talks about why musicians make the best sound designers and the challenges of living within the rules of television’s dynamic range.
Learn more about this SoundWorks podcast series.
Go behind the scenes to discover how the year's best films used the magic of Dolby technology.
Go Behind the Scenes
Season 2 of our podcast collection focuses on storytelling with sound. We speak with leading artists who create sound design for Broadway shows, virtual reality, and installation art pieces.
Much like The Godfather, our talk with Walter Murch was simply too epic to be contained in one podcast. In part two of our conversation, fellow sound designers Randy Thom and Chris Foster pose questions to Walter, we discuss the state of cinema sound before and after Apocalypse Now, why film school can be a good idea, and how you can underline a character’s emotional state with carefully chosen sound effects.
Three-time Academy Award-winner Walter Murch joins the “Conversations with Sound Artists” podcast. In part one of our talk, Walter takes questions from other leading sound designers Ren Klyce and Gary Rydstrom about his work, talks about how documentary film has affected modern cinema style, discusses his work in Apocalypse Now and The Conversation, and ends the episode with a discussion of the use of music in The Godfather and The English Patient.
In this special podcast presentation of our recent Dolby Institute master class at the Los Angeles Film Festival, writer/director Ryan Coogler is joined by his composer Ludwig Göransson and sound designer Steve Boeddeker to present clips and discuss their use of sound and music in Creed and Fruitvale Station.
Radiolab is one of the most distinctive sounding shows in the radio and podcast world. In this episode, the creator and co-host of the show, Jad Abumrad, talks about how he uses music as a metaphor to explore abstract topics like what a manta shrimp sees when it looks at a rainbow, why it's important to drop into the story midstream, why he deliberately disrespects the boundary between sound effects and music, and how he aspires to tell complex stories without words.
Legendary Foley artist John Roesch discusses his more than 30-year career performing sounds for films including E.T., Back to the Future, The Dark Knight, The Girl with the Dragon Tattoo, and Inception; the challenge of performing Foley for rainy scenes; why Foley can't come from an effects library; and how you walk steps for a Transformer.
Visual artist Sophie Clements joins her longtime sound design/music collaborator Jo Wills to discuss their site-specific piece Attempting to Delay the Inevitable, an installation at the Dolby Gallery; the role of sound in her visual art pieces; why computer-graphics images would never work in her art; and how sound and image collaborate to create wonder, awe, and seduction in the audience. We're joined for this conversation by Kevin Byrd, Head of Visual Experiences at Dolby.
Tim Gedemer, one of the most experienced artists working in sound for virtual reality with collaborations with studios including Jaunt, Specular Theory, and others, joins us to discuss the current state of sound for VR. We discuss the crazy first days of full spatial audio for the initial wave of VR projects, and why traditional filmmakers tend to stumble in their first VR experiences. Tim also provides a step-by-step discussion of how sound for VR works, from production capture through to the frustration of having to take off the headset so you can see the mixing console. He also discusses some of his most successful collaborations, and the differences between audio for cinematic, game-based, and live VR experiences.
Leading Broadway sound designer Nevin Steinberg discusses his work on hit shows including Hamilton, Bright Star, The Full Monty, and Spamalot. He tells us why he doesn't listen to the cast albums of his shows, the trials of redesigning theatre sound for touring companies, coming trends in Broadway sound design, and his experiences working with such legendary artists as Lin-Manuel Miranda, Mike Nichols, Steve Martin, and Edie Brickell.
Sound is an art and a craft that many people appreciate but that few know much about. In these podcasts with recent Oscar nominees and winners, sound designers take an in-depth look at different aspects of the sound process.
In this special series of podcasts, Dolby Institute director Glenn Kiser shines a spotlight on some of this year's nominees for the Academy Award® for Best Sound Editing. Hear the teams behind Mad Max: Fury Road, The Revenant, and Sicario talk about the creation of the sound design for the films, their collaboration with the music department and rerecording mixers, and the challenges of managing the logistics and aesthetics of their films.
Alan Murray, two-time Academy Award® winner nominated this year for Sicario, discusses using sound to tell the audience that things may not be quite right, how low-end can heighten tension, and his remarkable 40-year collaboration with Clint Eastwood.
Mark Mangini and David White, nominated this year for Mad Max: Fury Road, talk about the challenges of managing such an epic production, how they used ADR to achieve emotional intimacy, the use of silence in chaos, and how director George Miller (who trained as a doctor) can cure common maladies.
In this two-part podcast, we catch up with Academy Award nominees Lon Bender and Martín Hernández to discuss their BAFTA-winning work on The Revenant. Bender talks about recording Foley in Colorado on real snow (with horses!) and gives advice to young sound artists. Hernández talks about managing directors' anxiety and describes getting his start doing radio shows with director Alejandro Iñárritu in Mexico when they were college classmates.
For the second year, the Dolby Institute and the SoundWorks Collection have collaborated to produce a series of podcast conversations with the artists nominated for Academy Awards for Best Achievement in Sound Editing and Best Achievement in Sound Mixing.
Sylvain Bellemare (Best Sound Editing) and Bernard Gariépy Strobl (Best Sound Mixing) discuss the unique challenges of building the soundscapes of the alien heptapods and managing their multinational crew working in Paris, Montréal, Los Angeles, and New Zealand. Adhering to director Denis Villeneuve’s mandate to keep everything real and organic, the sound artists describe using no electronics in generating the film’s sounds and how the sound design interweaves seamlessly with the haunting score by Jóhann Jóhannsson.
Renée Tondelli (Best Sound Editing) joins us for an in-depth exploration of the sound design of Peter Berg’s film, for which she is nominated with Wylie Stateman. From the challenges of learning to speak “oilese,” the specialized language of the oil exploration world, to the problems of capturing usable production audio at the film’s noisy locations, Renée discusses how the sound for this action-packed film, mixed by Ron Bartlett and Doug Hemphill, came together.
Kevin O’Connell (Best Sound Mixing), celebrating his 21st Academy Award nomination, joins first-time nominees Robert Mackenzie and Andy Wright (double nominees for Best Sound Editing and Best Sound Mixing) in conversation about their work on Mel Gibson’s film. The artists talk about using sound design and music to sculpt the three different battle sequences that comprise the film’s second half, the challenges of using period-accurate weaponry, and how the sound of breathing can take you inside the main character’s experience.
In Part 1 of this episode, Steve Morrow (Best Sound Mixing) describes his work as the production sound mixer on this contemporary movie musical filmed largely on location in Los Angeles and the challenges of capturing the live on-set singing of stars Ryan Gosling and Emma Stone. In Part 2, Ai-Ling Lee (nominated for Best Sound Editing and Best Sound Mixing) and Mildred Iatrou (Best Sound Editing) discuss weaving the sung performances into a magical musical design soundscape
Two-time Academy Award® winner Alan Murray (Best Sound Editing) joins us to discuss his 37th film in collaboration with director Clint Eastwood, for which he has received his ninth Oscar nomination. From his first conversation with Captain Chesley Sullenberger to an eventful sound recording trip on an empty A320 in flight, Alan recounts the lengths to which his team went to make sure they kept realism in the sound track of the famous “Miracle on the Hudson.”
Greg Russell (17 Oscar nominations), Gary Summers (11 Oscar nominations and 4 wins), and Jeffrey Haboush (4 Oscar nominations) talk about their work, nominated for Best Sound Mixing, on Michael Bay’s film. The artists describe their long collaboration with Bay and their work on this film to keep the tension high through the film’s chaotic scenes of battle.
Our mission is to educate and inspire content providers in the effective use of audio and visual technologies as a creative tool.
The Dolby Institute
Corridor Digital Sound Tutorials
Resources for Content Creators
Find comprehensive broadcast industry tools, content services, and solutions.
Dolby Atmos for Home
Upgrade your home theater to a Dolby Atmos experience.
Dolby Vision at Home
Learn about a dramatically different viewing experience.
Who We Are