This week we discuss the sound, music, and cinematography of “Masters of the Air,” the epic WWII limited series from Apple TV+. With so many films and shows about World War II over the past several decades, one of the biggest challenges of the series was keeping things fresh. So the creative teams took some ingenious approaches to give every episode and action sequence a unique look, sound, and feel.

“Because there's so much time spent in the air with these planes, and so many different planes, we really wanted to sell the geography of each location within each plane and also each and every different plane. So one of the ways that we did that was that Mike [Minkler] and I had the different sequences cut by different people, with a fresh take. Or I did this particular sequence, and then I would hand it off to another editor. Or they would do that, and then pass it to me. And so we had a lot of interplaying around with each other's material, which I think keeps it really fresh, whilst not just copying and pasting material. When you have this much time in the air, you really need to keep the listener involved and their ear kind of excited at all times.”

—Jack Whittaker, Supervising Sound Editor, “Masters of the Air”

Joining our conversation:

- Supervising Sound Editor Jack Whittaker

- Re-recording Mixer Duncan McRae

- Re-recording Mixer Michael Minkler

- Composer Blake Neeley

- Cinematographer Jac Fitzgerald

Be sure to check out “Masters of the Air” on Apple TV+.

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Recorded live at the 2024 Sundance Film Festival, Academy Award®-nominated director (“Raya and the Last Dragon”) — and Dolby Institute Fellowship winner — Carlos López Estrada brings together another all-star panel of Hollywood talent, this time posing the question: Is “No Budget Filmmaking” even possible in this day and age?

“There's just so much pressure on a film and on a filmmaker that has nothing to do with the film being good, or them arriving at their artistic voice. I've worked on zero-dollar budgets, I've worked recently on $150 million budgets. And the problems on both ends of the spectrum are exactly the same. Your energy and your attention goes to so many places that have nothing to do with the actual movie, have nothing to do with the art, because of the capitalistic requirements of us, as artists. And if we really care about art and we really care about cinema… We have to change the way we talk about cinema… We want to advance the medium and we want to have a discourse around film that is not just, ‘did you like it? Did you hate it? Did it make money?’”

—Justin Simien, Film & Television Producer, Writer, and Director

Today’s panel includes independent filmmakers:

- Bao Nguyen (The Greatest Night in Pop, Be Water)

- Rishi Rajani (The Chi, Being Mary Tyler Moore, A Thousand and One)

- Justin Simien (Dear White People, Bad Hair, Hollywood Black)

Once again, this discussion was part of Antigravity Academy’s Satellite Sessions — free monthly conversations with high-level individuals in film and tv, whose objective is to decentralize resources/information and make them available to as many up-and-coming filmmakers as possible — co-presented by CAPE USA (Coalition of Asian Pacifics in Entertainment).

Many thanks to the co-presenter of this panel, MACRO: “a multiplatform media company representing the voice and perspectives of Black people and persons of color.”

Learn more about MACRO:

https://www.staymacro.com/

Learn more about Antigravity Academy:

https://antigravityacademy.co/

Learn more about CAPE — The Coalition of Asian Pacifics in Entertainment:

https://www.capeusa.org/

Be sure to follow @antigravityacademy and @capeusa for more information on even more upcoming panels.

For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks, wherever you get your podcasts.

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#LoveMoreInDolby

2-time Academy Award®-winning composer Hans Zimmer joins us on the podcast to discuss his work on “Dune: Part Two,” after winning an Oscar for his score to the first installment of the sci-fi franchise, directed by Denis Villeneuve. And like Denis, Hans had been dreaming about working on these films since he was a boy. And he also knew he wanted to take them in a less traditional direction, sonically:

“These were the things which probably had been on my mind ever since I read the book. It's just… I never had the opportunity to try them. I could never understand why, in a science fiction movie — I loved them all — but why we would hear a sort of a European orchestral sound. Why the strings? Why the French horns? Everything else looked futuristic. Everything else was different. Except the music still stuck to the rules of the romantic period. I'm not criticizing it. There's nothing I love more than ‘Alien’ or ‘Star Wars.’ They're phenomenal things. But I saw my duty very much as going beyond that.”

—Hans Zimmer, Composer, “Dune: Part Two”

Be sure to check out “Dune: Part Two,” now in theaters, in Dolby Vision® and Dolby Atmos®, where available.

Don’t miss our previous episode this week, with “Dune” cinematographer Greig Fraser, available in our podcast feed. You can subscribe to Dolby Creator Talks wherever you get your podcasts.

You can also check out the video for this episode.

Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.