• Dolby Institute Podcast Series

    • Conversations with Sound Artists: Season 1

      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.


        About the Artists and Their Podcasts

        Randy Thom - Dolby Institute PodcastsEpisode 1—Randy Thom: Writing for Sound

        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.

        Naughty Dog StudiosEpisode 2—Rob Krekel and Phillip Kovats of Naughty Dog Studios: Video Game Sound Design

        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.


        Coll AndersonEpisode 3—Coll Anderson: Creative Sound for Documentaries

        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.

        Anna BehlmerEpisode 4—Anna Behlmer: The Art of Sound Mixing

        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.

        Gwen Yates WhittleEpisode 5—Gwen Yates Whittle: Dialogue Editing and Automatic Dialogue Replacement (ADR)

        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.

        Dan ColmanEpisode 6—Daniel Colman: Sound for Television

        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.

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        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

    • Conversations with Sound Artists: Season 2

      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.

      • About the Artists and Their Podcasts

        Walter MurchEpisode 8—Walter Murch: Cinema Sound Design and Film Editing (Part 2)

        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.

        Episode 7—Walter Murch: Cinema Sound Design and Film Editing (Part 1)

        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.

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        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

    • I subscribe to Pablo Picasso’s dictum, ‘Art is a lie that tells the truth.’

      Walter Murch

      • Ryan CooglerEpisode 6—Ryan Coogler: The sound and music of Creed and Fruitvale Station

        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.

        Jad AbumradEpisode 5—Jad Abumrad: The Sound of Radiolab

        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.

      • John RoeschEpisode 4—John Roesch: The Art of Foley

        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.

        Sophie ClementsEpisode 3—Sophie Clements: Sound and Visual Art

        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. 

        Sophie Clements Dolby Installation Details
        Sophie Clements Dolby Gallery Event
        Kevin Byrd Art Installation Details



        Tim GedemerEpisode 2—Tim Gedemer: Sound for VR

        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.

        Nevin SteinbergEpisode 1—Nevin Steinberg: The Sound of Hamilton

        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.

    • Conversations with Sound Artists: Season 3

      In this series of six episodes, we focus on the long-time collaboration of some of the leading directors and their sound supervisors working today. These remarkable directors talk about the importance of sound to the films, and how they work with sound design and music. Conversations include Edgar Wright & Julian Slater; Darren Aronofsky & Craig Henighan; Matt Reeves with Michael Giacchino, Will Files, & Douglas Murray; Joe Wright & Craig Berkey; and others…


        About the Artists and Their Podcasts

        Edgar Wright and Julian Slater Episode 1 — Director Edgar Wright & Sound supervisor Julian Slater

        Writer/director Edgar Wright joins sound designer Julian Slater in conversation about their remarkable five film collaboration, starting with Shawn of the Dead and continuing through their most recent film, Baby Driver. In this episode you’ll learn why Wright records sound on location scouts, dissect the sonic components of the infamous “Tequila” shoot-out scene from Baby Driver, and hear why Julian Slater feels Dolby Atmos was designed for the film.


        Richard King Episode 2 — Sound supervisor Richard King talks about his collaboration with director Christopher Nolan

        Three-time Academy Award winning sound supervisor Richard King discusses his remarkable collaboration with the director Christopher Nolan, which began with The Prestige and has continued through this summer’s Dunkirk. Richard talks about creating the sirens of the German dive-bomber planes, and addresses some of the controversies of Nolan’s mixes. He also touches on working with other directors including Paul Thomas Anderson, Sam Shepard, and Nicolas Roeg. Richard also answers questions from other sound designers.


        Darren Aronofsky and Craig Henighan Episode 3 — Director Darren Aronofsky & Sound supervisor Craig Henighan

        Darren Aronofsky is one of the most innovative and boundary-pushing directors working in cinema. Join him in conversation with his longtime sound supervisor Craig Henighan as they discuss their work on Requiem for a Dream, The Fountain, Black Swan, Noah, and mother! In this episode Aronofsky talks about how mother! ended up without a musical score, creating the character of the house, and how each element of the track is deliberately crafted.


        Joe Wright and Craig Berkey Episode 4 — Director Joe Wright & Sound supervisor Craig Berkey

        Director Joe Wright and his sound supervisor Craig Berkey talk about using sound design to build worlds as diverse as Churchill’s World War II London in Darkest Hour, the synesthezia of a homeless schizophrenic in The Soloist, or a fantastic Neverland in Pan. Wright and Berkey explore why recording Foley in the real Churchill war rooms was important, how working in the London rave scene after college influenced Wright’s use of sound, and why having the score to play for the actors on set is important.


        Matt Michael Will Douglas Episode 5 — Director Matt Reeves, Composer Michael Giacchino, Sound supervisor Will Files, and Sound supervisor Douglas Murray

        Director Matt Reeves joins sound supervisors Will Files & Douglas Murray, and composer Michael Giacchino in conversation about their four-film collaboration, starting with Cloverfield and culminating with this summer’s War for the Planet of the Apes. The artists discuss the unique challenges of utilizing the vocalizations of the human actors for the apes, how the trailer for Cloverfield drove the movie and the challenge of making a scary monster movie with no musical score, and why Michael Giacchino originally did not want to write the score for Let Me In.


        Carter and Skip Episode 6 — Composer Carter Burwell and Sound supervisor Skip Lievsay talk about working with the Coen brothers

        Composer Carter Burwell and sound designer/mixer Skip Lievsay talk about their remarkable 30-year collaboration with the Coen Brothers and share stories starting with Blood Simple in 1985 and continuing through all 17 of the Coen’s films. Scenes are discussed from Raising Arizona, Miller’s Crossing, The Man Who Wasn’t There, Burn After Reading, and you’ll learn how it turns out there is actually musical score in No Country for Old Men.

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        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

    • Conversations with Sound Artists: 2016 Oscar® Edition

      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.


        About the Nominated Artists and Their Podcasts

        Alan Murray - Dolby Institute PodcastsThe Sound of Sicario with Alan Murray

        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 - Dolby Institute PodcastsThe Sound of Mad Max: Fury Road with Mark Mangini and David White

        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.

        Lon Bender and Martin Hernandez - Dolby Institute PodcastsThe Sound of The Revenant with Lon Bender and Martin Hernandez

        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.

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        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

    • Conversations with Sound Artists: 2017 Oscar® Edition

      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


        About the Nominated Artists and Their Podcasts

        ArrivalThe Sound of Arrival with Sylvain Bellemare and Bernard Gariépy Strobl

        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.


        Deepwater HorizonThe Sound of Deepwater Horizon with Renée Tondelli

        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.

        Hacksaw RidgeThe Sound of Hacksaw Ridge with Kevin O’Connell, Robert Mackenzie, and Andy Wright

        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.




        La La LandThe Sound of La La Land with Steve Morrow, Ai-Ling Lee, and Mildred Iatrou

        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


        Alan Murray - Dolby Institute PodcastsThe Sound of Sully with Alan Murray

        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.”

        13 Hours: The Secret Soldiers of BenghaziThe Sound of 13 Hours: The Secret Soldiers of Benghazi with Greg Russell, Gary Summers, Jeffrey Haboush

        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.

      • Dolby Oscars Gutter Image

        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

    • Conversations with Sound Artists: 2018 Oscar® Edition

      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


        About the Artists and Their Podcasts

        Baby Driver Collage

        The Sound of Baby Driver with Tim Cavagin, Mary H. Ellis, and Julian Slater

        In this episode, production sound mixer Mary Ellis talks about her very first day of the shoot — recording the sound on set during the continuous five-minute shot set to “Harlem Shuffle,” and the challenges of mic’ing all those fast-moving cars. Sound supervisor/mixer Julian Slater talks about using tinnitus to take the audience into the head of main character Baby. He and dialog mixer Tim Cavagin also discuss the unique challenges of mixing all the crafted sound design and dialog to blend with a driving music track.

        Blade Runner Collage v2

        The Sound of Blade Runner 2049 with Ron Bartlett, Theo Green, Doug Hemphill, Mark Mangini, and Mac Ruth

        The team behind Blade Runner 2049 talks about how they paid homage to the iconic original film while breaking new sonic ground. They explore the film’s distinctive blend of sound design and musical score, and discuss the producers’ wise decision to start the sound design while the shoot was still going on. They then examine key scenes, including the fight among malfunctioning holograms and how K’s walk in the desert evolved from full score to playing in almost silence.

        “My first conversation with [film editor] Joe Walker was all about silence, and how we would handle silence. If that’s the first conversation you’re having with your filmmakers, it’s exciting because we’ll get to the big moments, and in some ways those are the easiest to do.” — Mark Mangini

        “What I love about Dolby Atmos is that scenes that are more sparse are what really show it off. It’s scenes like the baseline test — the interviewer is primarily in the overheads; the whole idea is that he’s on top of you, oppressive and claustrophobic. You can’t do that with other formats.” — Ron Bartlett

        “If you close your eyes, you can hear the story.” — Joe Walker

        The Shape of Water Collage

        The Sound of The Shape of Water with Christian Cooke, Nelson Ferreira, Glen Gauthier, Nathan Robitaille, and Brad Zoern

        The artists behind The Shape of Water discuss the creation of the sounds of the creature (nicknamed “Fishman” by the team), revealing that director Guillermo del Toro’s vocalizations became a key part of the sound of the creature’s breathing. They describe how the creature’s sound design evolves over the course of the film as he goes from being a potential threat to the romantic lead, and how the movie theatre downstairs helps score the film.

        “[The creature] had to be the romantic lead. You’re asking a lot of the audience, to get them to be on board with this beautiful relationship that develops. I knew the best place to start is with human sounds [for him]. And so I started with my own voice, and then added animal sweeteners, and then for a final pass, Guillermo gave us a breathing layer.” — Nathan Robitaille

        “It’s so much harder to mix something quiet than to throw everything at it. It takes a lot of bravery to turn it down.” — Brad Zoern

        Star Wars: The Last Jedi Collage

        The Sound of Star Wars: The Last Jedi with Ren Klyce, Matthew Wood, and Michael Semanick

        Ren Klyce, primarily known for his sound design of David Fincher’s films, talks about the challenges and opportunities of joining an already-established sound universe while adding his own spin. He, Matthew Wood, and Michael Semanick discuss the security of reading the script before the shoot, and the feeling of walking onto the set of the Millennium Falcon. The team also discuss some of your favorite sequences from the film: the Fathiers chase, the mirror cave, the Force connection between Rey and Kylo Ren, and of course the famous “silent” jump to hyperspace through the First Order star destroyer.

        Dunkirk Collage v2

        The Sound of Dunkirk with Alex Gibson, Gregg Landaker, Richard King, Gary Rizzo, and Mark Weingarten

        We wrap up our Oscar nominees series with the team from Dunkirk. In this two-part episode, the artists show how the carefully engineered track builds and maintains tension for the entire running time of the movie, with music playing almost continuously from the opening shot of soldiers walking down the street to the moment Finn falls asleep on the train. They talk about how the mixing time works: they make a complete pass through the film and screen it every week during the final mix. They also reveal why director Christopher Nolan feels you don’t necessarily need to understand every word of dialog in his films.

        “[Composer] Hans [Zimmer] is making the sounds that the audience hears, and I’m making the sounds that the characters hear.” — Richard King

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        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.

      • Check out the Conversations with Sound Artists YouTube Playlist

      • Check out Landmark Sound Trends in Cinema as we celebrate the Oscars® 90th Anniversary

    • Conversations with Sound Artists: Season 4

      In this series of episodes, join Dolby Institute director Glenn Kiser in conversation with the creative teams behind the sound and music of some of the biggest films of the year, including Roma, A Star is Born, First Man and Black Panther.


        About the Artists and Their Podcasts


        Episode 1 - A STAR IS BORN

        Production sound mixer Steve Morrow, Grammy-winning music mixer Nick Baxter, and re-recording mixer Dean Zupancic talk about grabbing crowd scenes between sets at the Stagecoach and Glastonbury music festivals, how doing impulse responses in each of the venues allowed them to recreate the sound of the arenas in postproduction, and how Bradley Cooper was not your typical first-time director.

        “The movie is shot from stage, as if you were part of the band, and [Dolby Atmos] allows you to be closer to the drums or closer to the bass guitar, to be part of the stage, and I think the audience feels that.” -Steve Morrow


        Episode 2 - BLACK PANTHER

        Composer Ludwig Göransson and supervising sound editor Steve Boeddeker talk about the collaboration of sound design and score in Black Panther, the integration of African music into a traditional symphonic score, and how the sound design of futuristic Wakanda technology and weaponry is influenced by West African sounds (like a bird becoming the sound of a passing spaceship).


        Episode 3 - FIRST MAN

        Academy Award- and Grammy-winning composer Justin Hurwitz, sound supervisor and re-recording mixer Ai-Ling Lee, sound supervisor Mildred Iatrou, re-recording mixer Frank Montaño, re-recording mixer Jon Taylor, and Academy Award-winning picture editor Tom Cross discuss how the film’s documentary look (it was filmed in Super-16mm) affected the approach to sound and music, how the sound elements contributed to the understanding of how dangerous the early space flights were, and why it was important to focus on the sound of an errant fly in the space capsule.

        “ [Director] Damien [Chazelle] really wanted my picture editing to make room for sound. So I would set up an edit where we would see the rivets in the ships, I would have cut-aways to gauges and the walls of these tiny capsules, and those would be the places where we would have Ai-Ling’s amazing sounds of the creaks and the groans of the ship, and we’ll answer that with the looks on the faces of the astronauts, feeling the sense of dread that they’re about to be launched.” -Tom Cross


        Episode 4 - ROMA

        Academy Award-winning sound supervisor and re-recording mixer Skip Lievsay talks about the extraordinary sound work behind director Alfonso Cuarón’s epic black-and-white film about his own childhood in 1970s Mexico City. Skip talks about how not having a musical score keeps the audience guessing what will happen next, why it was important to Cuarón to have the dialog emanate not just from the screen channels but from all around the audience, the stunning five-day loop group recording session with 350 actors, and the 70-day final mix of the film.

      • Dolby Oscars Gutter Image

        Dolby at the Oscars

        Go behind the scenes to discover how the year's best films used the magic of Dolby technology.