Speaker 1: Really now, really.
Speaker 2: Really no, really well, and welcome to really no Really
Speaker 2: with Jason Alexander and Peter Tilden, who hope you can
Speaker 2: hear and understand them when they say please subscribe. Really,
Speaker 2: have you noticed how often it's really hard to hear
Speaker 2: and understand the dialogue and video content.
Speaker 3: It's not just you.
Speaker 2: Research shows that as many as sixty one percent of
Speaker 2: us are using subtitles consistently when watching video content, and
Speaker 2: content creators secretly admit that there's an actual problem. Really
Speaker 2: no really, Today we'll find out what that problem is
Speaker 2: and why despite cutting edge technologies, it's harder to clearly
Speaker 2: hear and understand what actors are saying in the shows
Speaker 2: and movies we watch. Will welcome film researcher and producer
Speaker 2: Ed Vega, who specializes in all things cinema, from film
Speaker 2: history to the nuts and bolts of filmmaking. And we
Speaker 2: also welcome dialogue sound editor Austin Olivia Kendrick and hopefully
Speaker 2: everyone will speak clearly.
Speaker 3: Now here's Jason and Peter.
Speaker 4: Now this is an episode on subtitles, because everywhere I
Speaker 4: look there's articles about why is everybody using subtitles?
Speaker 5: You told me, what's the percentage of people that actually
Speaker 5: it depends on the demographic, but in some as high
Speaker 5: sixty one percent.
Speaker 4: And we'll talk to our guests about that. Millennials different
Speaker 4: than gen zs are different.
Speaker 5: Recearching online content and television whatever brought in.
Speaker 4: I saw this tape that Edward Vegeman, who is a
Speaker 4: Vox Video is in the Vox Video team, video producer
Speaker 4: and he does cinem et cetera.
Speaker 6: It was so good.
Speaker 4: And then he had on our other guests, Austin Olivia Kendrick,
Speaker 4: who's the sound editor.
Speaker 6: I figured, you know what, I'm tired of doing all
Speaker 6: the research. Yeah, he's so good. Let's just get him
Speaker 6: on and he'll give us day.
Speaker 7: Yeah, got you.
Speaker 1: Having come, of course, thank you for having us man,
Speaker 1: Thank you so much.
Speaker 4: Let's talk about this. The statistics are out of control.
Speaker 4: And by the way, it's again it's all over the place,
Speaker 4: depending on what publication you read, but it is it's growing,
Speaker 4: becoming more prevalent, and it is in some demographics sixty
Speaker 4: percent and going up.
Speaker 6: So talk to us about what's going on. What the
Speaker 6: going is this happening?
Speaker 8: You guys, I mean, Edward, I will let you kind
Speaker 8: of take the lead on where do you't even want
Speaker 8: to start?
Speaker 1: Because the answer to this is very layered.
Speaker 8: It's not one simple like if we just fix this,
Speaker 8: the whole problem will go away.
Speaker 1: So, Edward, where do you want to start?
Speaker 9: I think a good place to maybe start, just since
Speaker 9: you guys were so kind and generous about the video
Speaker 9: that I made, is maybe with that, because this is
Speaker 9: a question that I had and a lot of my
Speaker 9: friends had for a long time, and there wasn't really
Speaker 9: anything about it, Like when I before I made that video,
Speaker 9: I feel like, now there's been a lot of articles, right,
Speaker 9: But truly, there was one article that I was able
Speaker 9: to find, and it was a bunch of people who
Speaker 9: wanted to stay anonymous because they were worried that if
Speaker 9: they said anything bad about things that they had worked
Speaker 9: on they like. So when I pitched this video, I
Speaker 9: was like, yeah, we might not be able to get
Speaker 9: anybody because you know, it's like a very sensitive topic.
Speaker 9: And so I was just going on TikTok one and
Speaker 9: I had watched some of Austin's other videos, but I
Speaker 9: was like, oh man, she's perfect, she's like talking on camera,
Speaker 9: so I should reach out to her. But yeah, everybody,
Speaker 9: it was funny when I first talked to Austin, asked
Speaker 9: her if she used subtitles because I don't. I prefer
Speaker 9: not to. I do, everybody in my family does, and
Speaker 9: Austin does.
Speaker 8: Yeah, Like we were just almost joking about, like you
Speaker 8: have to be able to turn off your work brain.
Speaker 8: For me, I go to work and I spend the
Speaker 8: whole day dissecting people's words, the dialogue, and so it
Speaker 8: helps me be able to disengage that part of my
Speaker 8: brain and just genuinely enjoy what I'm watching, you know,
Speaker 8: instead of like going in and like criticizing it as
Speaker 8: an editor.
Speaker 5: So I totally understand that, given what you do for
Speaker 5: a profession. The reason I tend to unless it's a
Speaker 5: foreign language, and I do prefer to listen to the
Speaker 5: organic a great and watch a subtitle.
Speaker 10: But other than that situation, I don't use subtitles because.
Speaker 5: Maybe meet reader, but it pulls my attention down to
Speaker 5: that bottom part of the screen and I'm missing the visual.
Speaker 10: I'm missing the rest of the performance.
Speaker 7: Agree, I find it so distracted.
Speaker 4: Say that it's interesting you say that, But what I
Speaker 4: found is, even with good hearing, you're missing stuff and
Speaker 4: I'm reading going Wait a minute, I didn't know that
Speaker 4: they Wait there's comments in the background. Wait, there's that.
Speaker 4: I'm missing eight of the stuff. So I get so
Speaker 4: used to that that I feel if I don't use it,
Speaker 4: I'm going to miss out on something.
Speaker 6: Start.
Speaker 10: Yeah, and I have the exact opposite.
Speaker 5: I would rather and maybe it's because I'm an actor
Speaker 5: and I'm so performance oriented. I'd rather watch and take
Speaker 5: in what the director and the the actors are are
Speaker 5: creating and go, I'll get the sound I don't need,
Speaker 5: you know. So I'm surprised that people who don't do
Speaker 5: what you guys do for a living and who are at.
Speaker 10: Double you know, aren't checking their Twitter feed.
Speaker 3: Yeah, I just I.
Speaker 5: Guess I don't get it in many things that about,
Speaker 5: you know, what is happening in culture that I don't get,
Speaker 5: but this is absolutely one of them.
Speaker 10: It feels like a diminished experience.
Speaker 4: So talk about the generational thoughts, start getting into some layers,
Speaker 4: because it's really interesting.
Speaker 10: Yeah.
Speaker 8: I feel like a big kind of route of it
Speaker 8: has been the advancement of technology, both in terms of
Speaker 8: what we can do when recording actors as well as
Speaker 8: on the back end on the editing, on the mixing
Speaker 8: on the you know, delivery to movies theaters, down to
Speaker 8: streaming and stuff like that. It's it's all kind of
Speaker 8: expanded in a way that has made it a much
Speaker 8: harder for us to control, like the the level of
Speaker 8: dialogue to the rest of the soundscape.
Speaker 4: You've only been doing it a couple of years, but
Speaker 4: I know you're sensitive to it. Is it changed about
Speaker 4: how they're making people, how actors are enunciating, and how
Speaker 4: much background noise that's acceptable when they're filming that they
Speaker 4: anticipate you can take out because of tech.
Speaker 8: Well, Edward, where do you want to start with that?
Speaker 8: How far back do we want to go there yet?
Speaker 7: Yeah, that's a good question.
Speaker 9: I think maybe performance is a good place to start,
Speaker 9: since you guys are asking about how technology has sort
Speaker 9: of changed, because I think that's maybe the most obvious
Speaker 9: shift that you can see, like the you know, if
Speaker 9: you watch movies from the forties, they're obviously speaking and
Speaker 9: performing in a very different manner in which people are
Speaker 9: speaking in performing today.
Speaker 8: Yeah, back then, the only option for really micing actors
Speaker 8: was having them on a closed sound stage. MIC's above
Speaker 8: their head, They're planted in one spot, and they were
Speaker 8: also came much more often from a theatrical background. They
Speaker 8: need to stand, they need to project into the microphone, right,
Speaker 8: and that gives not only a cleaner capture of their performance,
Speaker 8: but also because of that theatrical training, much more enunciation
Speaker 8: of their words.
Speaker 1: They're much clearer.
Speaker 8: You know, the Transatlantic accent was a very big thing,
Speaker 8: and that kind of that, that cadence really helped with intelligibility.
Speaker 1: Absolutely.
Speaker 6: Wow.
Speaker 10: You know, I was telling Peter about this. I directed
Speaker 10: a Broadway show this summer.
Speaker 5: Now, I've appeared on Broadway many times in a mix
Speaker 5: of musicals and plays. In a musical, of course, I
Speaker 5: was always miked. Even back in nineteen eighty one there
Speaker 5: was there was live mixing going on, and any actor
Speaker 5: that's saying had to be mixed to the orchestra.
Speaker 10: Yeah, but never for plays.
Speaker 5: This summer, I hire my sound designer for the show
Speaker 5: and he goes and we're in the smallest theater on Broadway.
Speaker 10: It's five hundred and eighty seats. It's a small theater.
Speaker 5: I did a play in theater that had almost two
Speaker 5: thousand seats. I wasn't miked. He says, what will be
Speaker 5: miking the actors? I go miking the actors. This is
Speaker 5: a play, not and I sort of held my ground
Speaker 5: and said, no, we're not going to mic the actors.
Speaker 5: We're not going to do that.
Speaker 10: We got into tech and I went, I can't hear
Speaker 10: them any I.
Speaker 5: Can't hear them, and he said, more importantly, the audience
Speaker 5: will hate it. The audience is no longer used to
Speaker 5: leaning into the sound. They want it delivered to them
Speaker 5: the way they would hear it if they had headphones.
Speaker 5: And we wound up for the first time in my
Speaker 5: career putting microphones on actors for a play in a
Speaker 5: relatively small theater, so I hear what you're saying about.
Speaker 5: As I watch film and television these days, so many
Speaker 5: scenes that pass for kind of emotion.
Speaker 10: Or intensity, it's really because people are.
Speaker 6: Just talking to me.
Speaker 5: And I'm going, if this were in a real environment,
Speaker 5: the person across the table couldn't hear you, and it
Speaker 5: makes me crazy. So what does it do on to you, guys,
Speaker 5: when you're having actors who literally are barely talking above
Speaker 5: a whisper in a live environment.
Speaker 8: Well as someone who cuts dialogue in adr like that
Speaker 8: is my primary focus as a sound editor. I there's
Speaker 8: something so frustrating about There's a lot that I can do.
Speaker 8: I can remove clicks, I can remove pops. I can
Speaker 8: stitch together to entirely different takes that have entirely different
Speaker 8: background noises. I can I can remove background noise. I
Speaker 8: can do a lot. However, if an actor does not
Speaker 8: enunciate their words, there is nothing that I can do
Speaker 8: to improve that, even if you brought them back into
Speaker 8: re record for ADR. The reality is matching it up
Speaker 8: to matching that sound, up to the movement of their
Speaker 8: lips on the screen. If their lips are barely moving
Speaker 8: trying to do ADR, where there's suddenly over enunciating these words,
Speaker 8: it isn't going to match right. So there's that's where
Speaker 8: an area where it is very frustratingly out of my hands.
Speaker 9: Wow as an audience member, I mean, I feel like
Speaker 9: it's really frustrating, and I'm just like Jesus Christ, like
Speaker 9: I wish I knew what they were saying. And in
Speaker 9: the video that I made. I have this example of
Speaker 9: Pete Davidson and King of Staten Island, and I would
Speaker 9: like to formally apologize to Pete the because I think
Speaker 9: he's given a really good performance. It's not like anything
Speaker 9: about that. But I was watching it. It came out
Speaker 9: during lockdown, and we rewinded it like three times because
Speaker 9: like the climax of the movie is him giving this
Speaker 9: very emotional, heartfelt and he's being honest with his mom
Speaker 9: about how he misses his dad, but he says it
Speaker 9: so wietly, and I'm like why why anyway, So it
Speaker 9: is very frustrating and I do not ever want to
Speaker 9: watch the subtitles, but in moments like that, like I
Speaker 9: understand why people do. And this is one thing that
Speaker 9: Austin sort of talks about in the video, that like
Speaker 9: when you lose the dialogue, you're losing the script.
Speaker 7: And when you lose the.
Speaker 1: Script like you have it was a story.
Speaker 8: Yeah, you know that rise of that more naturalistic performance
Speaker 8: like you were talking about Jason, these actors that. But
Speaker 8: I feel like that has come from you know, we
Speaker 8: were talking about way back in the sound stage days forties,
Speaker 8: where it's like that mike was the only option, where
Speaker 8: as in the seventies suddenly it developed with like oh no,
Speaker 8: now we can take recording systems mobile. They're mobile, now
Speaker 8: we can take them anywhere. The MIC's have gotten smaller
Speaker 8: and smaller, we can hide lobs lovelier microphones anywhere, and
Speaker 8: so I feel like that kind of rise and development
Speaker 8: in recording technology has kind of led to that rise
Speaker 8: in more naturalistic performances.
Speaker 6: It's a thing.
Speaker 4: It allows them to do it. Well, let's talk about technology.
Speaker 4: Then here's one of the examples I saw and I
Speaker 4: remember this in sixties seventies you got a crappy TV
Speaker 4: with a with a crappy speaker and you could hear
Speaker 4: everything really clearly. Today we have televisions and is this correct?
Speaker 4: I read it? So the speakers are thins, they have
Speaker 4: to be really thin, and they face backwards.
Speaker 10: In a lot of seff, yes, they do.
Speaker 4: Okay, why would a company say, you know what, people
Speaker 4: are sitting there, let's project that way and really no.
Speaker 10: Really no, really I know.
Speaker 6: But why is this a sound bar? Is this sell
Speaker 6: you to the sound bars? Everybody goes it sucks. I
Speaker 6: can't hear it.
Speaker 8: I mean like, I mean like I'm not going to
Speaker 8: say a note of that, but I think it's something
Speaker 8: where when it comes to especially television stuff like that,
Speaker 8: they're selling.
Speaker 1: You on like ooh for hey, nice, nice Chris.
Speaker 8: But sound is secondary and you don't realize how sound
Speaker 8: is secondary until you sit down with that monitor and
Speaker 8: you're listening back and you're going, oh wow, I can't
Speaker 8: hear anything, you.
Speaker 6: Know, facing backward.
Speaker 5: We have a thing in our house. Explain this to me, please,
Speaker 5: if you can. The dialogue I can't hear. So you
Speaker 5: crank it up and then all of a sudden there's
Speaker 5: a bit of soundtrack.
Speaker 10: Music and all head blows off. You go to commercial
Speaker 10: and there's screaming.
Speaker 6: Yeah, we should ask the editor.
Speaker 4: I think, rather than you want this one right, how
Speaker 4: do you what is happening?
Speaker 6: What's happening from set to editing there?
Speaker 4: Editor? I think, rather than you want this one right,
Speaker 4: how do what is happening?
Speaker 6: What's happening from set to editing there?
Speaker 8: Well, I feel like again it comes back to that
Speaker 8: kind of technology growing so fast? Is that back in
Speaker 8: the day you're talking about, Like back when television you know,
Speaker 8: crappy speakers, you can still hear everything. Back then, it
Speaker 8: was just you had one channel, you had one mono
Speaker 8: channel that everything went into. Nowadays, for TV, I mean,
Speaker 8: it's not even a standard to mix in stereo. It's
Speaker 8: standard to mix in usually five point one surround. I
Speaker 8: think the only things that really get mixed into stereo
Speaker 8: nowadays are kind of like the traditional multi camera sitcoms,
Speaker 8: which will you know, get mixed into a single day.
Speaker 8: So five point one is now the standard. Not everyone
Speaker 8: has a five point one setup.
Speaker 10: When you say five.
Speaker 5: Point one just for ignorant people like me, is that
Speaker 5: is that like sort of cinema surround sound kind of yeah?
Speaker 1: Okay, yeah, so and.
Speaker 8: So that's kind of the standard now. And we when
Speaker 8: it comes to mixing stuff, once I hand my my edit,
Speaker 8: my clean, pretty edit of the dialogue over to be
Speaker 8: integrated with everything else, that is what they're focusing on.
Speaker 8: That is what we're paid to do they and it
Speaker 8: is a very meticulous thing, like I will sit and
Speaker 8: I will watch mixers go over the five seconds for
Speaker 8: like minutes at a time to get that balance just right.
Speaker 8: And we spend days on that. And then when it's
Speaker 8: all done and finished, when it comes time to like, okay,
Speaker 8: what about stereo mixes?
Speaker 1: What about mono mixes?
Speaker 8: They don't want to pay us for that. You know,
Speaker 8: we aren't given that same amount of time. We're giving
Speaker 8: them the same amount of time to go back through
Speaker 8: the episode and do a stereo mix. That type of nuance,
Speaker 8: and this is where Edward brought it up first. The
Speaker 8: concept of down mixing comes from where you take the
Speaker 8: format with the highest number of channels available and you
Speaker 8: fold it down into formats with lesser channels.
Speaker 4: So to understand you, if you don't have five point
Speaker 4: one on your okay, fiss them, it comes out model
Speaker 4: that comes out not as good.
Speaker 6: Correct? Is that the problem?
Speaker 1: I believe?
Speaker 8: And by the way, five point one is now the
Speaker 8: standard for television, the highest standard, and actually this will
Speaker 8: sometimes be used for those bigger things like the Stranger Things,
Speaker 8: Star Wars.
Speaker 10: Stuff.
Speaker 8: Is a format called Dolby at Most, which can have
Speaker 8: up to one hundred and tw twenty eight channels going
Speaker 8: at once, which is insane to think about that. That
Speaker 8: system is absolutely when you see it in the right format,
Speaker 8: it's incredible.
Speaker 4: But then you have to spend one hundred million dollars
Speaker 4: in your bedroom to be able to hear Dully at Most.
Speaker 6: Instead.
Speaker 4: I'm reading subtitles because it's it's at the peak. But
Speaker 4: I'm like it, look, that's that's pretty insane.
Speaker 8: Correct, Yeah, And especially because when you're given that amount
Speaker 8: of almost like playspace, you know, of one hundred and
Speaker 8: twenty eight channels. Of course you're going to want to
Speaker 8: be pushing out a lot more sound. That's a lot
Speaker 8: more space for you to color in. However, when it
Speaker 8: comes time to fold down all of that sound into
Speaker 8: five five point one channels, two channels, one channel, then
Speaker 8: things can get mndy, especially when we are taking into
Speaker 8: account the concept of dynamic range, which is something that
Speaker 8: Edward touches on upon the.
Speaker 10: In the video.
Speaker 9: Edward, Yeah, one thing we talked about in the video
Speaker 9: is the concept of like, if you have a explosion,
Speaker 9: you want to feel that, you know, like you want
Speaker 9: it to be impactful, and so that has to be loud.
Speaker 9: But there is only a certain level of loud that
Speaker 9: you can reach, like there's a ceiling for it, whereas
Speaker 9: there isn't as as much of a floor for how
Speaker 9: low something can be. And so I'm sure you guys
Speaker 9: know making a podcast, like if I were to start
Speaker 9: screaming right now, everything would clip and it'd be unusable audio.
Speaker 7: You don't want that.
Speaker 9: If the explosion is going to be your loudest thing,
Speaker 9: then the dialogue simply can't be. And if you want
Speaker 9: the explosion to be impactful, then you can't bring that
Speaker 9: up because it will clip. So the dialogue and seid
Speaker 9: has to come down to create enough space where it
Speaker 9: feels like the explosion is bigger than contrast.
Speaker 8: The dynamic range is pretty much the range between the
Speaker 8: loudest sound in your mix and the quiet as so the.
Speaker 4: Action movies would be the biggest challenge because they're blowing
Speaker 4: up prep all through the movie and then you got
Speaker 4: whoever Stallan or whatever mumbling and talking. There's got to
Speaker 4: be down here lower than normal in a movie where
Speaker 4: you don't have explosions.
Speaker 8: Yes, yeah, and you even have to think about dynamic
Speaker 8: range when it even comes to dialogue where it's like
Speaker 8: someone who's yelling, it should sound louder than someone who's whispering,
Speaker 8: you know, So there's.
Speaker 1: Even that type of nuance even in just that little area.
Speaker 5: You know, this made me wonder maybe, you know, generally
Speaker 5: I'm not a big AI fan, but is there any
Speaker 5: talk of adding AI technology to our listening devices, our
Speaker 5: televisions and whatnot so that there is a sort of
Speaker 5: a constant adjustment going on so that the listener or
Speaker 5: viewer can get an appreciable amount, still get these effects
Speaker 5: that you're going for, but still have an appreciable amount
Speaker 5: of sound so that you wouldn't have to go to
Speaker 5: a subtitle sitch.
Speaker 8: I believe Amazon Prime had announced something similar something you
Speaker 8: can to what you're describing. I don't know if they've
Speaker 8: actually implemented it yet, but that's kind of also a
Speaker 8: big issue is that there is no standardation amongst all
Speaker 8: of these streaming platforms, you know, in terms of you know,
Speaker 8: sometimes we hand them the five point one mix and
Speaker 8: they have their own algorithm that will process and you know,
Speaker 8: will pump out a stereo mix themselves. You know, sometimes
Speaker 8: they have us do it. You know, it's something where
Speaker 8: there there is no standardization in terms of how any
Speaker 8: of these kind of mixed downs are handled.
Speaker 1: Money it is, it is. It is very much a mess.
Speaker 9: So I definitely think that that's a part of it.
Speaker 9: But I do have two things just before on your
Speaker 9: question about if there's any AI stuff that can make
Speaker 9: things come through care. We touch on it very briefly
Speaker 9: in the video, but there are TVs where you can
Speaker 9: like switch the modes where it's like voice clarity mode.
Speaker 9: So while there is that stuff, I personally don't know
Speaker 9: if that's like the right way to move forward.
Speaker 7: About it.
Speaker 9: The other thing I'll say is that there is an
Speaker 9: article that came out after I made my video from
Speaker 9: the Atlantic that talks a little bit about loudness standards.
Speaker 9: And in the pre streaming days, there was a standard
Speaker 9: whereas based off of the dialogue and how loud that
Speaker 9: was in relation to everything else. And when it transitioned
Speaker 9: into streaming, things became a lot different where it was
Speaker 9: based off the overall loudness. You know, the standards that
Speaker 9: are being used aren't specific to the dialogue. It's you know,
Speaker 9: just the overall loudness.
Speaker 4: So it's amazing because it's still the wild Western as
Speaker 4: far along as we are technologically.
Speaker 6: Yeah, it is the wild wild West at.
Speaker 10: This one point.
Speaker 8: And I don't even think we could implement something like
Speaker 8: you know, the way that George Lucas implemented THHX patch
Speaker 8: in the eight back in the eighties, which is just
Speaker 8: a certification for the playback of sound, which you know,
Speaker 8: he was able to widely implement and push the entire
Speaker 8: industry to adopt. Suddenly by pretty much holding Return of
Speaker 8: the Jedi hostage. Oh you you want the copy of
Speaker 8: of Return of the Jedi.
Speaker 1: Cool, You have to THHX.
Speaker 8: You know, and I'm not even sure, given how kind
Speaker 8: of things are spread out amongst all these you know,
Speaker 8: the market looks a lot different.
Speaker 1: I'm not sure that we could.
Speaker 8: Have that type of mass push across the industry.
Speaker 1: Again. I would like to see it.
Speaker 8: I would love to see something like TCHX reintroduced, because
Speaker 8: there is something so frustrating about working very hard on
Speaker 8: the dialogue but also across this entire as sound people
Speaker 8: were trying to create. We're storytellers, you know, on this front,
Speaker 8: and to work so hard and to see all of
Speaker 8: my colleagues work and my work and you know, kind
Speaker 8: of all of that fall apart.
Speaker 1: You know, once it's out of our hands, you're very frustrated.
Speaker 4: You mix stuff and you go home. Do you ever
Speaker 4: watch what you mixed? And you go, holy crap.
Speaker 8: It's hard to it's hard to listen back to stuff
Speaker 8: I've worked on because I always think about stuff that
Speaker 8: I could do better.
Speaker 10: Really, yep, let me tell you.
Speaker 5: There is nothing I've been in that was filmed or
Speaker 5: I don't go that's what they did?
Speaker 3: Yeah?
Speaker 6: Everything?
Speaker 5: Yeah, yeah, I mean on the Seinfeld Show, we used
Speaker 5: to shoot our episodes significantly longer than they could air,
Speaker 5: And one of the philosophies that Jerry and Larry had was,
Speaker 5: when we get to the edit, we'll use the stuff
Speaker 5: we like the most, and you know, anything that doesn't
Speaker 5: make the grade we'll get rid of.
Speaker 10: But you know, I remember watching watching an episode where
Speaker 10: in it's on Tell.
Speaker 5: When I saw it on the air, I was moving
Speaker 5: around Jerry's apartment with no discernible way of having gotten
Speaker 5: there because they had taken.
Speaker 10: Out two lines here and two lines.
Speaker 5: Here where I had done the move, and I went,
Speaker 5: oh my god, I can't watch this anymore.
Speaker 10: You know, it's actors get or maybe it's just me.
Speaker 10: It could be just me.
Speaker 5: I get a little precious of If you've given me
Speaker 5: a six line speech and you're going to cut line
Speaker 5: two and four, it's.
Speaker 10: No longer anything that I did.
Speaker 5: It may be better, it could be worse, it could
Speaker 5: be the same, but my experience of it is doesn't
Speaker 5: not what I did. But I was going to go
Speaker 5: back one and just when we talk about the subtitle,
Speaker 5: I think this was interesting to me because the whole
Speaker 5: premise of our conversation today is about the use of subtitles.
Speaker 5: But I was reading the there was a European commissioned
Speaker 5: survey that noted that eighty percent of people in non
Speaker 5: English speaking countries for first subtitle, only four percent of
Speaker 5: people in the United States preferred they'd rather hear the dub.
Speaker 10: They'd rather hear the other actor because they don't know.
Speaker 3: I'm not that now.
Speaker 5: I as much as I don't like subtitling, I'm not that.
Speaker 5: But I also thought, look at US America, too lazy
Speaker 5: to read that. We don't want to we don't have
Speaker 5: to work for it, we don't want to have to work.
Speaker 10: I'd rather not see the original performance.
Speaker 4: I hate that, Edward. What else did you find? I
Speaker 4: know Adhd plays in. There's a lot to plays into this.
Speaker 7: Too, man, I mean, so much stuff, A lot of
Speaker 7: it is in the video.
Speaker 9: One thing that we don't get into too much, but
Speaker 9: I think is very important to note is that, like,
Speaker 9: on one hand, it's kind of not for most of us.
Speaker 9: You know, like a lot of us are using subtitles
Speaker 9: because we want to have a richer understanding of what
Speaker 9: we're watching and not feel like we're missing anything. But
Speaker 9: there is a large majority of people that need it
Speaker 9: because you know, they're hard of hearing, or their death.
Speaker 1: Even have a sensory processing you know, yeah.
Speaker 7: Right, it has made things a lot more accessible.
Speaker 9: You know, I was listening to a podcast earlier that
Speaker 9: was saying that Netflix, when they first transitioned from DVD
Speaker 9: to having a streaming platform, very few of their shows
Speaker 9: had accurate subtitles, and now it's it's most of them.
Speaker 9: And you know, I think that that stuff like sort
Speaker 9: of gets lost in the conversation of us being like,
Speaker 9: I can't hear Tom when he says stuff, which again you.
Speaker 5: Could you could also be We had Kevin Pollock on
Speaker 5: who taught us how to do Jason Statham. The secret
Speaker 5: is to take six words do you know what I mean?
Speaker 5: And you reduce them down to just that's your job.
Speaker 6: That is your job. Makes somebody has to type in mean.
Speaker 8: But no, I'm one hundred percent on the same page
Speaker 8: as Edward in the way of I don't mind the
Speaker 8: rise of subtitles, in the way of that means, are
Speaker 8: the stories that we're trying to tell are more accessible
Speaker 8: to more people? You know, things like subtitles and even
Speaker 8: audio descriptions. It just knowing that we can still have
Speaker 8: that story connect with a greater audience. That's ultimately you know,
Speaker 8: and I mean there are legitimate frustrations in you know,
Speaker 8: be in what we're talking about, but ultimately the fact
Speaker 8: that more people are able to interact with the story.
Speaker 6: The fact that more people's hearing is being impaired.
Speaker 5: Frankly, it's not even just doing what you and I
Speaker 5: are doing right now.
Speaker 10: I am hearing you at.
Speaker 5: A level that if I take these out, you wouldn't
Speaker 5: be as amplified in my ears as you are right now.
Speaker 5: And the fact that they right next to you and
Speaker 5: across from Austin, and this notion that I need these
Speaker 5: things in my ear by the way you talk about
Speaker 5: the thing for the blind, the sounds, the oftimate soundstrack
Speaker 5: Sha aameless plug. Our announcer for this show is my son,
Speaker 5: Noah Nice. The bulk of his current voice over career
Speaker 5: is audio tracks for the Blood.
Speaker 10: He is the guy that you hear going, They're walking
Speaker 10: on the beach, dicks her hand. She smiles. That's my son.
Speaker 4: I'm very the My favorite thing is when I'm accidentally
Speaker 4: because I got now on my TV's at eight thousand
Speaker 4: buttons the control stuff. Yeah, when I accidentally, instead of
Speaker 4: hitting the captain, I hit that and can't get it
Speaker 4: off right away and it's hilarious.
Speaker 6: You don't know what the.
Speaker 10: Hell's going on.
Speaker 5: I watched half you mentioned Squid Games. I'm not kidding.
Speaker 5: I watched half of Squid Games, going is this what's happening?
Speaker 5: Because I know they messed with the people. Oh, it's
Speaker 5: an audience participation thing. They're messing with me talking to
Speaker 5: my brain.
Speaker 6: You're not talking about the original squid game. You're talking
Speaker 6: about the you.
Speaker 1: Know, the Korean one, the one that was showing audio
Speaker 1: descripts on.
Speaker 10: Accidentally I didn't know, And initially, yes, I didn't. I
Speaker 10: didn't think to put the captioning on.
Speaker 5: So as it came on, it in English with that
Speaker 5: track on, and I went, uh, this is a fascinating.
Speaker 8: Choice, fascinating creative choice.
Speaker 6: Thanks for coming in, Thanks for coming on.
Speaker 5: And we promise you we will close caption and subtitle
Speaker 5: which I don't even know. Close captioning, I guess tells
Speaker 5: you everything that's going on subtitles is just dialogue.
Speaker 10: I see the research I put into this episode.
Speaker 4: And Edwards, Edwards, if you go to why we all
Speaker 4: need subtitles now, you've got a good shot at seeing
Speaker 4: his h his work, which is really really specific.
Speaker 10: Be half on actors everywhere.
Speaker 5: Dialogue first, forget the music, forget the sound efext dialogue, dialogue,
Speaker 5: dig log make me sound good, David, so tell us
Speaker 5: and by the way, we'll be subtitling you everything. You say,
Speaker 5: what what do we need to learn about tub titles.
Speaker 4: That we did at this guy?
Speaker 11: Well, the thing that bothers mean Number one is why
Speaker 11: can't they universalize where that subtitled button is? Yes, right,
Speaker 11: like you're always hunting for do I got to push
Speaker 11: down to the side? Does it do I have to
Speaker 11: go through Chinese and Mandarin and the English.
Speaker 4: It's always say also where they place it on the screen,
Speaker 4: because sometimes it's below and then sometimes it's above and
Speaker 4: it's blocked and stuff, which is the pain in the
Speaker 4: thank you.
Speaker 11: This basically got me thinking, you know, subtitles and TVs
Speaker 11: and all of this digital technology th HX and all
Speaker 11: this stuff. It's supposed to make things better, yet technology
Speaker 11: has made it worse. It's just we can't we can't
Speaker 11: hear thinking now you're talking my lane, right, So what
Speaker 11: are some new cutting ise technologies.
Speaker 6: That have made life go ahead?
Speaker 11: Go ahead?
Speaker 3: Of course, now we all know.
Speaker 11: That calling anyone you know, people don't answer, doctor's offices
Speaker 11: don't answer and whatever, and you get these phone chain things.
Speaker 3: Yes, yes, getting the news. It used to be you
Speaker 3: sit in front of a TV.
Speaker 11: You turn it on to channel two fours, and there
Speaker 11: was your news at six o'clock, or you got it there.
Speaker 3: The newspaper in the morning.
Speaker 11: Right now, you have to get the news from all
Speaker 11: over here, this, this or whatever. But then you have
Speaker 11: to check it right to see if it's fake news.
Speaker 3: Gotta vet it.
Speaker 11: Yes, sure, watching a TV show, watching a TV show?
Speaker 3: What streaming service is it?
Speaker 11: I got to get a new new thing.
Speaker 3: Where's Hulu?
Speaker 8: Is?
Speaker 6: Who? You're?
Speaker 2: So?
Speaker 10: On my screen?
Speaker 5: Where all the different possibilities where the streaming are? I
Speaker 5: put it on that screen and then on my remote
Speaker 5: there's a button that you can push to talk, and
Speaker 5: I go where is Yellowstone? You know, it'll tell you
Speaker 5: where it is and it'll take you to it. But
Speaker 5: sometimes you have it. You have it for free, right
Speaker 5: because you've already bought that app, but it'll take you
Speaker 5: to a secondary one to go. You can watch it
Speaker 5: for nine ninety nine and I go on this channel
Speaker 5: trying to right, all right, all right, yes, that's it. Yes, David,
Speaker 5: You're right made it worse.
Speaker 6: Thank you that. I'm not even going to get into
Speaker 6: I'm just one word.
Speaker 3: I'm gonna say it.
Speaker 11: Voting, Ah cook using a recipe? Right, we used to
Speaker 11: have either mom gave us a recipe or he had
Speaker 11: a book. Where do you find the recipes on the
Speaker 11: Instagram and you go to it, but there's like thirty
Speaker 11: million ads and then they don't have the ingredients.
Speaker 6: Listen.
Speaker 11: To get the ingredients list you have to click through
Speaker 11: the thing, but there's there's a pay walled up above it.
Speaker 6: I'm just saying, I got it. We're not judging.
Speaker 3: You know said voting.
Speaker 4: You know what he said.
Speaker 6: He lives in.
Speaker 10: The rest of us are voting.
Speaker 6: I have no trouble voting. Is you sent it in?
Speaker 4: Got to climb a thing, you got to go technology.
Speaker 3: All right, d anything else? Take you off the rolls here,
Speaker 3: take you off the rolls here?
Speaker 6: Anything else?
Speaker 5: Uh?
Speaker 6: No, God, blessed well, that was fantastic.
Speaker 5: So my subtitle, what would your subtitle this episode?
Speaker 10: Really?
Speaker 5: No really subtitles and then in parentheses the subtitle would
Speaker 5: be fantastic.
Speaker 6: I'm sorry, brother Bennis.
Speaker 10: And gentlemen, now, who can hear me or not.
Speaker 5: Really.
Speaker 6: Please listen now.
Speaker 3: There's another episode. If Really No Really comes to a close.
Speaker 2: I know you're wondering, what are a bunch of the
Speaker 2: weirdest sound effects ever used in a motion picture? That
Speaker 2: answer in a moment, but first let's thank our guests,
Speaker 2: Ed Vega and Austin Olivia Kendrick. Ed's website is vox
Speaker 2: dot com and you can follow him on Instagram where
Speaker 2: he is at Ed from Queen's. Austin is on Facebook
Speaker 2: where she is Austin Olivia Kendrick, and on Instagram and
Speaker 2: TikTok she is at aok dot wav. Find all pertinent
Speaker 2: links in our show notes, our little show hangs out
Speaker 2: on Instagram, TikTok YouTube, and threads at Really No Really Podcast,
Speaker 2: And of course you can share your thoughts and feedback
Speaker 2: with us online at reallynoreally dot com. If you have
Speaker 2: a really some amazing factor story that boggles your mind,
Speaker 2: share it with us, and if we use it, we
Speaker 2: will send you a little gift.
Speaker 3: Nothing life changing, obviously, but it's the thought that counts.
Speaker 2: Check out our full episodes on YouTube, hit that subscribe
Speaker 2: button and take that bell so you're updated when we
Speaker 2: release new videos.
Speaker 3: And episodes, which we do each Tuesday.
Speaker 2: So listen and follow us on the iHeartRadio app, Apple Podcasts,
Speaker 2: or wherever you get your podcasts. And Now, what are
Speaker 2: five of the weirdest movie sound effects you've likely heard?
Speaker 3: Number One?
Speaker 2: In Terminator two Judgment Day, the villain is T one
Speaker 2: thousand slides through the bars of.
Speaker 3: A jailhouse door.
Speaker 2: That wet slithering effect was actually the sound of dog
Speaker 2: food sliding out of a tin can.
Speaker 3: Number two. The punches in Fight Club were not made
Speaker 3: the old fashioned way of hitting a phone book.
Speaker 2: Instead, sound designer Ren Kleist put walnuts inside the carcasses
Speaker 2: of chickens, chuck them out to a parking garage, and
Speaker 2: beat the.
Speaker 3: Hell out of them. Number three.
Speaker 2: If you're watching something alien or creepy on film and
Speaker 2: hearing a weird, shimmery, discordant soundscape, then you.
Speaker 3: Are likely listening to a water phone.
Speaker 2: The instrument is basically a small bowl of water with
Speaker 2: various metal and glass stems coming from it. The stems
Speaker 2: are played with a violin bow and unearthly tones and
Speaker 2: shrieks or forth. Take a listen to Aliens or The
Speaker 2: Matrix or the X Files and you'll get a symphony
Speaker 2: of them.
Speaker 3: Number four.
Speaker 2: If you were cringing at the sounds of breaking bones
Speaker 2: in a quiet place, take comfort and knowing that all
Speaker 2: that was sonically breaking or stocks of celery and number five.
Speaker 2: In the film, Final Destination for a racing car skids
Speaker 2: out of control and crashes, sending flying debris everywhere. But
Speaker 2: instead of the standard noise of skidding, the sound team
Speaker 2: blatantly inserts the sounds of dolphins clicking and squeaking. It's
Speaker 2: not blended or altered, It's just dolphins, apparently narrating a
Speaker 2: car crash. Really no, Like, go watch the movie I'm
Speaker 2: being serious.
Speaker 3: No really.
Speaker 6: Really no, really.
Speaker 2: Really no really is a production of iHeartRadio and Blaise Entertainment.
Speaker 11: M hm