Dolby Creator Talks

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 Designer
Be sure to check out “One Battle After Another,” now streaming on HBO Max, 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®-nominated cinematographer Darius Khondji joins us to discuss his stunning work on “Marty Supreme.” In this episode, Khondji unpacks his bold visual approach with director Josh Safdie, from shooting on film with classic anamorphic lenses and expressive close-ups to building a richly textured 1950s world through production design, lighting, and color. He also shares how collaboration across every department shaped the film’s emotional power.
“Anamorphic can be very minimal… The important thing is the way it renders closeups; it makes people bigger than life, like black and white does… The real old classic anamorphic of the fifties—I wanted to go back to this feeling… Anamorphic is like a magnifier. And Marty is seen through the film like that.”
—Darius Khondji, ASC, AFC, Director of Photography, “Marty Supreme”
Be sure to check out “Marty Supreme,” now available for at-home purchase or rental, as well as in select 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.

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®.
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.

This week we sit down with the Oscar-nominated sound team behind Guillermo del Toro’s “Frankenstein,” to explore the film’s epic and deeply expressive soundtrack. Sound designer and supervising sound editor Nathan Robitaille, supervising sound editor Nelson Ferreira, re-recording mixer Brad Zoern, and production sound mixer Greg Chapman break down their long-standing collaboration with del Toro and the bold creative choices that shaped the film’s sonic identity. From early sound exploration and practical effects to dynamic use of Dolby Atmos® and the creation of the film’s unforgettable creature voice, this conversation offers a deep dive into how sound drives the emotion, scale, and storytelling in one of the year’s most ambitious films.
“Guillermo is really, really great about wanting to fill the space. This comes from working with him for a long time. We were able to anticipate all this stuff. There's moments where he wants the concentration on the screen and he wants to pull everything back in the room. Dolby Atmos allows us to do that so beautifully and separate stuff and make it where we can focus. This movie lends itself to Atmos… It's just such a great tool and it was so much fun on this mix to use all that. We have such a beautiful visual to work with. We have to meet that standard with the sound.”
—Brad Zoern, Re-recording Mixer, “Frankenstein”
Be sure to check out “Frankenstein,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®.
Our previous episodes:
Guillermo del Toro and D.P. Dan Laustsen on the Cinematography of Frankenstein
The Music of Frankenstein with Composer Alexandre Desplat
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®.
Also, be sure to catch our previous episode about the music of “Sinners,” with Two-time Academy Award-winning composer Ludwig Göransson and Executive Music Producer Serena Göransson on YouTube.
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.