Dolby Creator Talks

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.