Dolby Creator Talks

The sound team behind “Cairn” joins guest host Alistair Hirst to discuss the immersive sound design and mix of this survival-climbing game from acclaimed French indie studio The Game Bakers. Built around the tension, focus, and physicality of climbing a massive mountain, the game uses detailed Foley, breathing, wind, environmental soundscapes, and a sparse musical score to make every handhold, footstep, and moment of silence feel essential… and perilous. “The core gameplay is climbing. So that was all about the small Foley sounds, differentiating between different [holds]… There’s [also] a whole breathing system, which is the primary stamina feedback. It was really nice for the developers to say, ‘Hey, we want audio to be the primary feedback to the player on the stamina,’ rather than having stamina bars.” —Martin Stig Andersen, Audio Director, Sound Designer, and Composer, “Cairn” Joining the conversation: - Martin Stig Andersen – Audio Director, Sound Designer, and Composer - Lukas Julian Lentz – Lead Sound Designer Be sure to check out “Cairn,” available now in Dolby Atmos, on supported systems. Dolby Atmos is just as impactful for indie developers as it is for major AAA games! Game developers interested in bringing Dolby Atmos to their own projects can learn more here. Please subscribe to Dolby Creator Talks wherever you get your podcasts , now available as a video podcast on YouTube and Spotify . Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Rewriting can be one of the hardest, most important, and most mysterious parts of the writing process. In this panel discussion, Academy Award®-nominated filmmaker (and Dolby Creator Lab Grant winner) Carlos López Estrada leads a practical, honest, and often very funny conversation about taking notes, protecting your voice, finding the “note behind the note,” learning when to hold on… and when to let go. Joining today’s conversation: - Marcus Gardley – Playwright and Screenwriter - Aiyana K. White – TV and Screenwriter - George Watsky – Writer, Musician, and Multi-disciplinary Artist - Jon Cohen – Head of Film, Bad Robot Productions This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the 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 Dolby Creator Talks wherever you get your podcasts , now available as a video podcast on YouTube and Spotify ! Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Showrunner Oren Uziel and director of photography Darran Tiernan join us to discuss how Prime Video’s “Spider-Noir” was designed, shot, and finished for two distinct visual versions at once: “Authentic Black & White” and “True-Hue Full Color.” They break down the creative and technical challenges of building both looks simultaneously, from old-school noir influences to modern custom LUTs, as well as the enormous collaboration required across the camera, lighting, production design, costumes, makeup, and visual effects departments. "Nothing was brought to set that hadn't been looked at already through both LUTs... It's measure twice, cut once. This was prep twice, shoot once." —Oren Uziel, Executive Producer and Showrunner, “Spider-Noir” Be sure to check out “Spider-Noir,” now streaming on Prime Video, in both black & white and color, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts , now available as a video podcast on YouTube and Spotify ! Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

The Audible Original® adaptation of “Mexodus” brings the acclaimed Off-Broadway musical into a new immersive audio experience in Dolby Atmos®. Created and performed by Brian Quijada and Nygel D. Robinson, “Mexodus” is a live-looped, two-person musical set in the 1850s, telling the powerful story of the Underground Railroad that led south, following enslaved people who sought freedom across the Rio Grande into Mexico. Quijada and Robinson join sound designer Mikhail “Misha” Fiksel to discuss both the live stage production and the Audible Original adaptation, and how they used music, sound design, foley, live performance, and an immersive audio mix to bring this story to life, in two radically creative ways. “My obsession with this [immersive audio] medium is that it's [for] an audience of one. For most people, it's an intimate experience between their ears. So literally the sound is kind of actually inside them. But using spatial dynamics, you can place the audience at different kind of perspectives, different vantage points… It's no longer a realistic experience, but much more [a] sort of impressionistic and psychological experience for the audience.” —Mikhail “Misha” Fiksel, Sound Designer, “Mexodus” Be sure to check out The Audible Original adaptation of “Mexodus,” now available on the Audible app in stunning Dolby Atmos. “Mexodus” tour dates and ticketing information can be found here. Please subscribe to Dolby Creator Talks wherever you get your podcasts , now available as a video podcast on YouTube and Spotify ! Many, many thanks to YOU, our audience, for being with us for 300 episodes! We can’t wait to bring you our next 300. Learn more about the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Season two of Netflix’s anthology series “Beef” received 16 Emmy Award® nominations, including recognition for its bold cinematography and meticulously crafted sound. In this conversation, creator, showrunner, writer, director, and executive producer Lee Sung Jin — who also goes by Sonny Lee — joins members of his creative team to discuss how they gave the second season its own distinct identity while still retaining the DNA of the show. “The dialogue is kind of musical in a way. We are chasing these rises and falls to land a joke or a dramatic moment. And we all collectively feel it. And so that's what's great is that I think most teams would be like, ‘Sonny, you're crazy. You don't need to spend any more hours on this.’ But they're like, ‘Ugh, you know what? We know what you mean and it can be a little bit better.’ … I think whether in the mix, or with James [Laxton] in color [grading], what I love about this team is that we want it to be perfect. And it's really hard to do that on TV time and TV resources.” —Lee Sung Jin, Creator, Showrunner, Writer, Director, and Executive Producer, “Beef” Joining Lee Sung Jin for this conversation about “Beef” season 2: - James Laxton, ASC – Director of Photography - Christopher Gomez, MPSE – Supervising Sound Editor - Penny Harold, CAS – Re-recording Mixer - Andy Lange, CAS – Re-recording Mixer Be sure to check out “Beef,” 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 the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

Academy Award®-winning composer Michael Giacchino returns to Dolby Creator Talks for his fifth appearance, this time to discuss his latest score for “Spider-Man: Brand New Day.” In this conversation, Giacchino explores how he approached Peter Parker’s new emotional reality: One where the character is alone, isolated, and carrying difficult memories no one else shares, by reshaping familiar musical themes, excavating pieces out of the melody, and introducing a dark, synth palette beneath the orchestra. He also reflects on his working relationship with director Destin Daniel Cretton, recording an 85-piece orchestra at Abbey Road, and finding the right balance between the spectacle befitting a Spider-Man movie, and the loneliness at the heart of this new chapter for the beloved superhero. "For me, musically, it was... 'do we abandon the theme that we had for three movies and just go with something brand new? So it felt like he’s in a wholly new place?' That was my first thought. But the more I tried to do that, I kept thinking, 'well, no, maybe it's not so much about inventing anything new, but it's about taking away from what we already have.' So if I have a full melody written out, what notes can I pull out of that melody, that would represent the pieces of his life that have now gone away?" —Michael Giacchino, Composer, “Spider-Man: Brand New Day” Be sure to check out “Spider-Man: Brand New Day,” now playing in theaters in Dolby Vision® and Dolby Atmos® where available. 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 .

Justin Gray’s Grammy®-winning album Immersed was composed, recorded, produced, mixed, and mastered all with Dolby Atmos® in mind, from the very beginning. In this conversation, guest host Ben Givarz is joined by Gray, co-producer Drew Jurecka, immersive mastering engineer Michael Romanowski, and Dolby’s Greg “Stryke” Chin to discuss how the team crafted a captivating musical experience featuring 38 artists from around the world, where every performance, microphone placement, production choice, and mix decision was designed to put the listener at the center of the music. Together, they explore how Immersed reimagines what an album can be when space is treated not as an afterthought, but as a core part of the composition itself. “Space is a really, really powerful storytelling tool and a powerful production tool. And so when I sat down to write the music, I definitely set out with this thing: I want to make a project where I write the music from the start, produce it for immersive audio.” —Justin Gray, Composer, Immersive Mix Engineer, and Producer, Immersed Be sure to check out Immersed, available in Dolby Atmos on enabled streaming music services such as Apple Music and Amazon Music. Stay connected with our guests on Instagram: - Justin Gray - Michael Romanowski - Drew Jurecka - Morten Lindberg - Greg "Stryke" Chin Listen to other classic and contemporary artists mixed in Dolby Atmos on enabled streaming music services. 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 .

Composer Claudia Sarne joins guest host Jon Burlingame to discuss her bold, hybrid score for “Supergirl,” and how she blended orchestra, choir, synths, and experimental textures to match this more complicated, emotionally wounded version of the iconic DC character. Sarne also breaks down how she built Supergirl’s theme gradually across the film, letting it emerge piece by piece as Kara steps into her heroic identity. “[Director] Craig [Gillespie] did not want the theme to play properly until she had emerged into the suit and walked into the character fully. We hinted at it earlier on when she's still in the trench coat, and in her first fight sequence — which is this bus sequence with the Sklarians. The first thing that I wrote on this was on that Sklarian bus sequence where she's floating in space. It's sort of lonely piano, and it opens out, and you almost get to a theme, but you don't quite. It just hints at something. When I had that… just a tiny architecture of something, I took that and made it into the theme. That kind of was the genesis of what happened in the whole film and with the music. I took that as the seed and expanded from there.” —Claudia Sarne, Composer, “Supergirl” Be sure to check out “Supergirl,” now playing in theaters, in Dolby Vision® and Dolby Atmos® where available. 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 .

*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 Mixer Be 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 .

The team behind Pottermore Publishing and Audible’s “Harry Potter: The Full-Cast Audio Editions” joins guest host Richard Addis to discuss one of the most ambitious audiobook productions ever attempted. Featuring more than 200 actors, original music, detailed sound design, and fully immersive Dolby Atmos® mixes, the series brings all seven books to life in a new way — while staying true to the text, the characters, and the world fans know so well. *NOTE: This interview may contain spoilers from the Harry Potter series. Joining today’s conversation: - Ann Scantlebury - Head of Audio Development, Pottermore Publishing - Chris Jones - Senior Director of Production, Audible - Lawrence Kendrick - Co-creative Director, Sound Designer and Composer, String and Tins - Rob Baker - Head of Engineering, Forever Audio “We can take people on the Hogwarts Express. They can go through the doors into the Great Hall. They can hear the footsteps echoing. They can be there and they can have it all playing out around them. To us, that was incredibly appealing. It was always about creating something that felt very real to the listener, really putting them in the heart of the action.” —Ann Scantlebury, Head of Audio Development, Pottermore Publishing Be sure to check out all seven of “Harry Potter: The Full-Cast Audio Editions,” now available on Audible in 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 .

Sam Witwer — the voice of Maul himself! — joins us alongside supervising director and executive producer Brad Rau and supervising sound editor, sound designer, and re-recording mixer David W. Collins to discuss the voice, sound, and cinematic scale of “Star Wars: Maul - Shadow Lord.” Together, they explore how the series deepens one of Star Wars’ most iconic villains, from Witwer’s layered vocal performance and Maul’s emotional complexity to the show’s bold sound design and Dolby Atmos® mix. Collins also reflects on carrying forward the sonic legacy of Skywalker Sound, while staying open to the strange, unexpected discoveries that have always helped make Star Wars sound like Star Wars. “Sounds can come to you at the most random times. It really is that random encounter with something that sounds funny that ends up being the gold. When I was doing recording for the next season, there's stuff that I recorded and whether I use it or not, I'm still not sure, but I'm building a library constantly by finding stuff that sounds really interesting around the house. I told this story once where I was at my daughter's game and I thought the smack of an aluminum bat would be a great element inside a laser blast, because it has that wonderful tink and echo that you could put a real low end thud in the front of that and it would be this weird thing you could process. I've done that... I just try and keep my ears open and try and learn from Ben Burtt or anyone at Skywalker that has told similar stories, because it's usually the happy accidents that cause something unexpected, which Star Wars is all about.” —David W. Collins, Supervising Sound Editor, Sound Designer, and Re-Recording Mixer, “Star Wars: Maul - Shadow Lord” 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 “Stranger Things” has always been huge, cinematic, and unmistakably its own — and the series finale takes that signature style to its most epic scale yet. In this conversation, supervising sound editor Craig Henighan, re-recording mixer Mark Paterson, and dialogue and ADR supervisor Ryan Cole join us to discuss bringing the final chapter to life, from the sonic DNA first established in season one, to the massive battles and emotional moments that define the end of the series. They also break down how the team balanced all of that scale and intensity without losing clarity, dynamics, or the emotional release that makes all “that chaos" work. “The tricky bit is to kind of embrace a lot of that chaos. It’s usually like some Demogorgon screaming and just everything’s all going on at once. But the key to it is that that chaos ends and you feel that release. That’s kind of what makes the audience feel safe. So it’s a tricky balance to work out, ‘how clean do we go in, in terms of mixing here, to hear everything else?’ We always work through that with the [Duffer Brothers], as well.” —Mark Paterson, Re-recording Mixer, “Stranger Things” season 5 Be sure to check out “Stranger Things,” 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 the Dolby Creator Lab and check out Dolby.com . Connect with Dolby on Instagram , Twitter , Facebook , or LinkedIn .

“Tuner” is a rare film where sound is not only essential to the cinematic experience — it is central to the story itself. Today we welcome back Academy Award®-winning sound designer, supervising sound editor, and re-recording mixer Johnnie Burn, joined by the film’s star Leo Woodall, to discuss how they brought audiences inside the world of Niki, a piano tuner with hyperacusis whose acute hearing makes him an expert safe cracker. Together, they explore how sound shapes the film’s tension, romance, and point of view, from delicate safe-cracking rhythms and subjective hearing shifts to put the audience directly inside Niki’s head. “You should see it in a movie theater because it really is a film where the experience of a movie theater can take you so much closer to the feeling of what the main character actually has. So it's quite a one-off opportunity in that.” —Johnnie Burn, Sound Designer, Supervising Sound Editor, and Re-Recording Mixer, “Tuner” Be sure to check out “Tuner,” now playing in theaters, in Dolby Vision® and Dolby Atmos® where available . 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 .

Front of house mix engineer Paul Falcone joins host Ben Givarz to discuss how he helped bring Mariah Carey’s residencies at Dolby Live at Park MGM in Las Vegas to life as immersive live music experiences. He reflects on his journey from legendary New York recording studios to live concert mixing, and shares how he uses Dolby Atmos®, along with precise room tuning and even in-car reference checks, to keep the focus on Mariah’s iconic voice and maximize the emotional impact of the show. “I always would get that feeling as a kid. I always wanted music to surround me. And being able to actually do that with Dolby Atmos and get that feeling — it does give me the chills. And I want the audience to feel that too. I want it to be an emotional experience.” —Paul Falcone, FOH Mix Engineer, Mariah Carey Stay connected! - Listen to Mariah Carey and many other classic and contemporary artists mixed in Dolby Atmos on enabled streaming music services. - Find out more about the work of Paul Falcone on his website. - Find the latest news, official releases, and tour dates for Mariah Carey here . 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 .

Independent film financing can be one of the most mysterious — and most essential — parts of getting a movie made. In this illuminating panel discussion, Academy Award®-nominated filmmaker (and Dolby Creator Lab Grant winner) Carlos López Estrada leads a practical conversation about how projects move from script to package to market, what financiers are actually looking for, and what emerging filmmakers can do to give their films the best possible chance of getting made. Joining the discussion: - Marissa Frobes – Media Finance Agent, CAA - Chris Quintos Cathcart – Independent Financier and Co-CEO of Unapologetic Projects - Riel Roch-Decter – Producer (“Earnhardt”) and Co-founder of MEMORY This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the 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 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 .

Front of house mixer Vince Casamatta joins us to discuss how he helped transform Maroon 5’s residency at Dolby Live at Park MGM in Las Vegas into a powerful live Dolby Atmos® experience. He reflects on everything from pre-production to the subtle live spatial decisions that make the technology disappear behind the music, always in service of the songs and the emotional impact of the show. “The format has to serve the art and not the other way around. And I think we were really able to do that by making movements and making decisions that maybe audience members didn't even know were happening, but on a subconscious level, they felt it.” —Vince Casamatta, FOH Mix Engineer, Maroon 5 Stay connected! - Listen to Maroon 5 and many other classic and contemporary artists mixed in Dolby Atmos on enabled streaming music services. - Check out Maroon 5 tour dates here. 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 .

Today we welcome acclaimed horror filmmaker Lee Cronin back to the show, alongside sound designer and supervising sound editor Peter Albrechtsen, to discuss their delightfully gory new horror film, “Lee Cronin’s The Mummy.” As with their previous collaboration, 2023’s hit “Evil Dead Rise,” Cronin and Albrechtsen embraced sound design from the earliest stages of the creative process, using it not only for maximum impact, but also to sharpen the film’s storytelling. “I actually found the edit on this one quite stressful… We would have been in big trouble without early sound in it. Because of the way it was written and the nature of it, and how the tension needed to be built. At times, it was quite hard to find the shape of scenes without sound that was very, very clear in its signposting of where we were headed, ultimately. Sometimes you’re cutting something and you can dig into a bit of a library, but quite early on we actually needed design to help us craft the sequences.” —Lee Cronin, Director and Writer, “Lee Cronin’s The Mummy” Be sure to check out “Lee Cronin’s The Mummy,” now playing 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 .

Legendary mix engineer Kevin Madigan joins us to discuss his pioneering work helping create Santana’s live Dolby Atmos residency at House of Blues in Las Vegas and what it takes to reimagine one of rock’s most iconic sounds for a live audience. He also reflects on his work at Larrabee Studios in Los Angeles, building out the Dolby Atmos® room and mixing music from Santana’s landmark album “Supernatural.” “The music felt 3D and you were immersed in it. And we do have a lot of elements to do that with the Santana band and within the music. There’s a lot of percussion, keyboards, B3, congas… So, bringing that out into an immersive feeling [for] the audience was kind of easy to do! And if there was cool moves to do at certain points in a song… it can do a rotation around the audience. It’s a really cool moment for the audience, but it’s not distracting, it’s not gimmicky… The audience got used to it pretty quick. It just sounded like a huge, immersive mix that’s really engaging and magnetic and draws the audience into the song.” —Kevin Madigan, FOH Mix Engineer, Santana Stay connected! - Listen to Kevin Madigan's mixes of tracks from Santana's “Supernatural” album, as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services . 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 .

Composer Daniel Pemberton returns to Dolby Creator Talks to discuss his inventive new original score for “Project Hail Mary.” In conversation with guest host Jon Burlingame, Pemberton breaks down how he built a custom musical language for the film using everything from wooden blocks, body percussion, treated vocals, bowls of water, and even a squeaky water tap recorded on his iPhone. He also reflects on balancing the film’s vast sci-fi scale with its intimate emotional core, and how experimentation, failure, and discovery shaped one of his most ambitious scores yet. “Developing all your own sounds… I call it mixing your own paints. You've basically spend a long time mixing paint colors rather than buying it off the shelf. And that's how you get stuff that feels very original, like this. And I've got millions of these and most of them don't work. You spend ages when you experiment. When you have time to fail, you have time to create ... Hopefully there'll be something in there that'll work.” —Daniel Pemberton, Composer, “Project Hail Mary” Be sure to check out “Project Hail Mary” now in theaters 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 .

Getting a project made in the entertainment industry can be a mystifying process. But one thing is for sure: nothing would happen without the Hollywood assistants who help champion them and assist (and, yes, sometimes cajole) the executives into getting a green light. To help shed some light on all this, filmmaker Carlos López Estrada hosts another insightful Satellite Session, featuring a panel of top executives, producers, agents, and assistants, to explain how Hollywood assistants work, and why they are so essential to the entertainment industry. As well as how it could be a pathway “in,” for those of you aspiring to build a career here yourselves. Joining the discussion: - Abhijay Prakash – President of Blumhouse - Keenen Kunsh – Assistant to Abhijay Prakash, Blumhouse - Christina Chou – Motion Picture Literary Agent, CAA - Brendan Kim – Assistant to Christina Chou, CAA - Mindy Ramaker – Creative Producer and Former Assistant to David Lynch - Caroline Tsai – Assistant to Jenn Han (“The Summer I Turned Pretty”) This is another installment of our ongoing “Satellite Sessions” series, which we’re bringing to you in partnership with Antigravity Academy and the 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 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 .