Three-time Emmy-nominated Re‑recording Mixer Nick Offord and Emmy-winning Sound Designer/Mixer Ryan Collins are longtime collaborators whose partnership has shaped some of television’s most sonically ambitious projects including Emmy nominations for Dopesick, Pam & Tommy, and most recently, Amazon Prime Video’s Spider‑Noir, starring Nicolas Cage On Spider‑Noir, they tackled a unique challenge: crafting a single Dolby Atmos mix that could glide effortlessly between a restrained, nearly mono homage to 1930s noir and full‑scale immersive spectacle — without the audience ever feeling the shift.
Nick Offord: We wanted to create a dynamic mix that could take the audience from a 1930s world into a fully immersive experience. The challenge was making that transition feel natural and subtle, so the audience wouldn’t even realize the shift had happened.
Using music and sound effect accents to help propel a scene was one of the most exciting parts of the process. It gave us the opportunity to experiment on the mix stage and find creative ways to enhance the storytelling through sound.
Ryan Collins: During the mix for Spider-Noir, we intentionally chose moments to emulate the technology of the era, helping the audience feel as though they were watching a 1930s film. The approach was really about using the space intentionally and letting the story dictate when we opened things up. The near-mono noir sections helped capture the vintage aesthetic of the classic noir style, where the sound was more focused and intimate, while the larger Atmos moments allowed us to create a much more immersive and cinematic experience. The contrast between those two worlds was a big part of the storytelling. We wanted the audience to feel that shift, but always in a way that felt natural and motivated by what was happening on screen.
Ryan Collins: On previous projects, I had used Sound Particles as a way to make things like crowds and atmospheres feel larger, more dynamic, and have more movement within an immersive soundscape. What made the approach on Spider-Noir different was that the design was much more intentional and focused. Instead of using it to create a broad environmental experience, we were using Sound Particles to help define the specific sonic identity of a character.
For Sandman, many of those sounds ultimately lived in a more focused, mono presentation, so the goal wasn’t about creating a wide spatial effect. It was about combining sounds and textures in unique ways to create something that felt organic, emotional, and constantly evolving. I really relied on Sound Particles’ ability to blend and manipulate those individual elements into complex layers that gave the character a sound unlike anything else in the show.
If someone only ever watches the color version of Spider-Noir, is there anything about the sound design they're missing that only really lands in black-and-white?
Nick Offord: One of the most interesting things that happened on the dub stage was when we would watch the episodes back in color after mixing them in black and white. It felt like a completely different mix, and we would have to go back and check everything to make sure it was all exactly the same.
It was almost like our brains were playing a trick on us. The noir effect didn’t feel nearly as prominent in color as it did in black and white, even though the mix hadn’t changed. It created a completely different viewing experience. I would highly recommend watching both versions!
Ryan Collins: I think the interesting thing about Spider-Noir is that the sound was designed to support both versions equally. There are certainly moments where the black-and-white presentation enhances the classic noir influence, but the sound mix was built to carry the story no matter which version you watch. We created a sonic world that draws from the character, the era, and the atmosphere of the show, so even in the color version, the audience is still experiencing the same intention behind the mix. The sound is really the connective tissue between those two visual styles.
Ryan Collins: The piece of sound design I’m probably most proud of is the sonic identity we created for Sandman. We wanted his sound to feel organic and physical, so we recorded a lot of real-world materials like sand, gravel, cinder blocks, concrete mix, and rock salt. The goal wasn’t just to make him sound like sand; it was about finding sounds that matched the emotion and intensity of what was happening on screen.
We then took those recordings and layered, manipulated, and transformed them using tools like Sound Particles to create constantly evolving textures. By combining those organic elements, we were able to build a sound that felt massive when needed, but could also be subtle and intimate depending on the moment. Creating a unique sonic identity for Sandman throughout the season and hearing all those elements come together in his transformations was one of the most rewarding parts of the project.
Ryan Collins: I think we’re actually getting very close to spatial mixing becoming the standard for television. Most of the projects we’re mixing today are already being delivered in Dolby Atmos, so the creative side has really started to become the norm. The bigger shift is happening on the consumer side. As home theater technology continues to improve and more people have access to immersive playback systems, it allows the work we’re doing in the mix stage to translate and really shine at home. The more accessible these systems become, the more audiences will experience the benefits of spatial audio the way we intended.
Nick Offord: Pretty much every show we work on now is created natively in Dolby Atmos. The challenge is making that format the default experience because there are so many different ways viewers can access and listen to the content.
I think some of the streaming platforms are doing a great job of recognizing what a viewer's system can support and delivering the highest-quality version of the mix available for that setup. Whether someone is watching in a full home theater, on a soundbar, or with headphones, the goal is to make sure the experience translates as well as possible.
Nick Offord: Have fun with it, but don’t go crazy. When we first started mixing in Atmos, the temptation was to put everything in the ceiling just because we could. The key is to use it as a storytelling tool. If placing something overhead helps enhance what’s happening on screen, then absolutely do it. But resist the urge to put everything up high just because the format allows you to.
Ryan Collins: My biggest advice is to approach Atmos as another storytelling tool, not just as a new technical format. The temptation is to put everything everywhere, but the most effective immersive mixes are usually about restraint and intention. Start thinking about how the space can support the story, whether that’s creating a sense of scale, intimacy, movement, or emotion.
I’d also encourage mixers coming from stereo or 5.1 to spend time listening to great Atmos mixes and really analyze why something feels immersive. Learn how objects, beds, and the expanded soundfield work together, but don’t lose sight of the fundamentals that make a great mix: balance, clarity, and storytelling. The best Atmos mixes aren’t the ones that constantly remind you they’re in Atmos, they’re the ones that make you feel more connected to the story.
Thank you, Nick & Ryan!