WEBVTT - Everyone’s Using Subtitles – The Fascinating Reasons Why! 0:00:01.320 --> 0:00:04.720 Really now, really. 0:00:06.760 --> 0:00:11.480 Really no, really well, and welcome to really no Really 0:00:11.520 --> 0:00:14.160 with Jason Alexander and Peter Tilden, who hope you can 0:00:14.240 --> 0:00:17.680 hear and understand them when they say please subscribe. Really, 0:00:17.840 --> 0:00:20.480 have you noticed how often it's really hard to hear 0:00:20.520 --> 0:00:22.840 and understand the dialogue and video content. 0:00:23.000 --> 0:00:23.680 It's not just you. 0:00:24.040 --> 0:00:26.360 Research shows that as many as sixty one percent of 0:00:26.440 --> 0:00:30.159 us are using subtitles consistently when watching video content, and 0:00:30.280 --> 0:00:34.040 content creators secretly admit that there's an actual problem. Really 0:00:34.360 --> 0:00:37.239 no really, Today we'll find out what that problem is 0:00:37.280 --> 0:00:40.519 and why despite cutting edge technologies, it's harder to clearly 0:00:40.560 --> 0:00:43.240 hear and understand what actors are saying in the shows 0:00:43.240 --> 0:00:47.000 and movies we watch. Will welcome film researcher and producer 0:00:47.159 --> 0:00:50.640 Ed Vega, who specializes in all things cinema, from film 0:00:50.680 --> 0:00:53.080 history to the nuts and bolts of filmmaking. And we 0:00:53.280 --> 0:00:58.280 also welcome dialogue sound editor Austin Olivia Kendrick and hopefully 0:00:58.480 --> 0:00:59.880 everyone will speak clearly. 0:01:00.120 --> 0:01:01.320 Now here's Jason and Peter. 0:01:02.400 --> 0:01:05.400 Now this is an episode on subtitles, because everywhere I 0:01:05.400 --> 0:01:08.320 look there's articles about why is everybody using subtitles? 0:01:08.480 --> 0:01:10.760 You told me, what's the percentage of people that actually 0:01:10.760 --> 0:01:13.400 it depends on the demographic, but in some as high 0:01:13.440 --> 0:01:14.160 sixty one percent. 0:01:15.000 --> 0:01:17.000 And we'll talk to our guests about that. Millennials different 0:01:17.000 --> 0:01:18.200 than gen zs are different. 0:01:17.920 --> 0:01:21.720 Recearching online content and television whatever brought in. 0:01:21.880 --> 0:01:24.080 I saw this tape that Edward Vegeman, who is a 0:01:24.280 --> 0:01:27.080 Vox Video is in the Vox Video team, video producer 0:01:27.520 --> 0:01:28.880 and he does cinem et cetera. 0:01:29.319 --> 0:01:30.120 It was so good. 0:01:30.200 --> 0:01:33.320 And then he had on our other guests, Austin Olivia Kendrick, 0:01:33.360 --> 0:01:34.120 who's the sound editor. 0:01:34.160 --> 0:01:36.040 I figured, you know what, I'm tired of doing all 0:01:36.040 --> 0:01:38.240 the research. Yeah, he's so good. Let's just get him 0:01:38.280 --> 0:01:39.240 on and he'll give us day. 0:01:39.440 --> 0:01:40.200 Yeah, got you. 0:01:42.520 --> 0:01:45.320 Having come, of course, thank you for having us man, 0:01:45.360 --> 0:01:46.080 Thank you so much. 0:01:46.560 --> 0:01:49.760 Let's talk about this. The statistics are out of control. 0:01:49.800 --> 0:01:52.960 And by the way, it's again it's all over the place, 0:01:53.240 --> 0:01:56.960 depending on what publication you read, but it is it's growing, 0:01:57.320 --> 0:02:00.480 becoming more prevalent, and it is in some demographics sixty 0:02:00.520 --> 0:02:02.840 percent and going up. 0:02:03.200 --> 0:02:05.960 So talk to us about what's going on. What the 0:02:06.320 --> 0:02:07.120 going is this happening? 0:02:07.160 --> 0:02:09.360 You guys, I mean, Edward, I will let you kind 0:02:09.360 --> 0:02:10.680 of take the lead on where do you't even want 0:02:10.720 --> 0:02:11.080 to start? 0:02:11.160 --> 0:02:14.080 Because the answer to this is very layered. 0:02:14.160 --> 0:02:16.440 It's not one simple like if we just fix this, 0:02:16.800 --> 0:02:18.520 the whole problem will go away. 0:02:18.960 --> 0:02:20.920 So, Edward, where do you want to start? 0:02:21.880 --> 0:02:23.720 I think a good place to maybe start, just since 0:02:23.800 --> 0:02:26.679 you guys were so kind and generous about the video 0:02:26.760 --> 0:02:30.480 that I made, is maybe with that, because this is 0:02:30.480 --> 0:02:32.079 a question that I had and a lot of my 0:02:32.120 --> 0:02:34.480 friends had for a long time, and there wasn't really 0:02:34.520 --> 0:02:37.160 anything about it, Like when I before I made that video, 0:02:37.200 --> 0:02:39.119 I feel like, now there's been a lot of articles, right, 0:02:39.200 --> 0:02:41.080 But truly, there was one article that I was able 0:02:41.120 --> 0:02:42.880 to find, and it was a bunch of people who 0:02:43.000 --> 0:02:45.080 wanted to stay anonymous because they were worried that if 0:02:45.120 --> 0:02:47.600 they said anything bad about things that they had worked 0:02:47.639 --> 0:02:53.280 on they like. So when I pitched this video, I 0:02:53.360 --> 0:02:54.960 was like, yeah, we might not be able to get 0:02:54.960 --> 0:02:57.359 anybody because you know, it's like a very sensitive topic. 0:02:58.240 --> 0:03:00.440 And so I was just going on TikTok one and 0:03:00.840 --> 0:03:03.520 I had watched some of Austin's other videos, but I 0:03:03.560 --> 0:03:06.040 was like, oh man, she's perfect, she's like talking on camera, 0:03:06.360 --> 0:03:09.040 so I should reach out to her. But yeah, everybody, 0:03:10.080 --> 0:03:12.040 it was funny when I first talked to Austin, asked 0:03:12.040 --> 0:03:15.160 her if she used subtitles because I don't. I prefer 0:03:15.240 --> 0:03:18.160 not to. I do, everybody in my family does, and 0:03:18.240 --> 0:03:18.799 Austin does. 0:03:18.960 --> 0:03:22.040 Yeah, Like we were just almost joking about, like you 0:03:22.080 --> 0:03:23.680 have to be able to turn off your work brain. 0:03:24.040 --> 0:03:25.960 For me, I go to work and I spend the 0:03:25.960 --> 0:03:30.400 whole day dissecting people's words, the dialogue, and so it 0:03:30.520 --> 0:03:33.120 helps me be able to disengage that part of my 0:03:33.160 --> 0:03:36.560 brain and just genuinely enjoy what I'm watching, you know, 0:03:36.640 --> 0:03:40.400 instead of like going in and like criticizing it as 0:03:40.400 --> 0:03:40.920 an editor. 0:03:40.960 --> 0:03:44.280 So I totally understand that, given what you do for 0:03:44.360 --> 0:03:48.360 a profession. The reason I tend to unless it's a 0:03:48.400 --> 0:03:51.280 foreign language, and I do prefer to listen to the 0:03:51.480 --> 0:03:53.760 organic a great and watch a subtitle. 0:03:54.160 --> 0:03:57.720 But other than that situation, I don't use subtitles because. 0:03:58.920 --> 0:04:02.640 Maybe meet reader, but it pulls my attention down to 0:04:02.680 --> 0:04:05.040 that bottom part of the screen and I'm missing the visual. 0:04:05.040 --> 0:04:06.760 I'm missing the rest of the performance. 0:04:07.000 --> 0:04:08.320 Agree, I find it so distracted. 0:04:08.840 --> 0:04:10.480 Say that it's interesting you say that, But what I 0:04:10.560 --> 0:04:14.000 found is, even with good hearing, you're missing stuff and 0:04:14.040 --> 0:04:16.320 I'm reading going Wait a minute, I didn't know that 0:04:16.320 --> 0:04:18.719 they Wait there's comments in the background. Wait, there's that. 0:04:18.839 --> 0:04:23.599 I'm missing eight of the stuff. So I get so 0:04:24.000 --> 0:04:26.360 used to that that I feel if I don't use it, 0:04:26.400 --> 0:04:27.440 I'm going to miss out on something. 0:04:27.440 --> 0:04:27.680 Start. 0:04:27.760 --> 0:04:29.320 Yeah, and I have the exact opposite. 0:04:29.360 --> 0:04:32.320 I would rather and maybe it's because I'm an actor 0:04:32.360 --> 0:04:36.560 and I'm so performance oriented. I'd rather watch and take 0:04:36.600 --> 0:04:41.000 in what the director and the the actors are are 0:04:41.200 --> 0:04:44.760 creating and go, I'll get the sound I don't need, 0:04:44.839 --> 0:04:49.440 you know. So I'm surprised that people who don't do 0:04:49.520 --> 0:04:52.640 what you guys do for a living and who are at. 0:04:52.480 --> 0:04:55.239 Double you know, aren't checking their Twitter feed. 0:04:55.640 --> 0:04:57.839 Yeah, I just I. 0:04:59.680 --> 0:05:02.440 Guess I don't get it in many things that about, 0:05:02.480 --> 0:05:05.400 you know, what is happening in culture that I don't get, 0:05:05.440 --> 0:05:06.960 but this is absolutely one of them. 0:05:07.000 --> 0:05:09.600 It feels like a diminished experience. 0:05:10.120 --> 0:05:13.159 So talk about the generational thoughts, start getting into some layers, 0:05:13.160 --> 0:05:14.400 because it's really interesting. 0:05:15.320 --> 0:05:15.520 Yeah. 0:05:15.560 --> 0:05:18.120 I feel like a big kind of route of it 0:05:18.200 --> 0:05:22.040 has been the advancement of technology, both in terms of 0:05:22.920 --> 0:05:26.640 what we can do when recording actors as well as 0:05:27.080 --> 0:05:28.960 on the back end on the editing, on the mixing 0:05:29.080 --> 0:05:32.640 on the you know, delivery to movies theaters, down to 0:05:32.680 --> 0:05:35.400 streaming and stuff like that. It's it's all kind of 0:05:35.480 --> 0:05:39.080 expanded in a way that has made it a much 0:05:39.120 --> 0:05:44.520 harder for us to control, like the the level of 0:05:44.640 --> 0:05:48.520 dialogue to the rest of the soundscape. 0:05:49.080 --> 0:05:50.440 You've only been doing it a couple of years, but 0:05:50.520 --> 0:05:52.960 I know you're sensitive to it. Is it changed about 0:05:53.000 --> 0:05:55.560 how they're making people, how actors are enunciating, and how 0:05:55.640 --> 0:06:00.120 much background noise that's acceptable when they're filming that they 0:06:00.320 --> 0:06:02.719 anticipate you can take out because of tech. 0:06:03.040 --> 0:06:05.320 Well, Edward, where do you want to start with that? 0:06:05.400 --> 0:06:08.200 How far back do we want to go there yet? 0:06:08.600 --> 0:06:09.880 Yeah, that's a good question. 0:06:10.200 --> 0:06:12.360 I think maybe performance is a good place to start, 0:06:12.400 --> 0:06:14.560 since you guys are asking about how technology has sort 0:06:14.600 --> 0:06:17.080 of changed, because I think that's maybe the most obvious 0:06:17.360 --> 0:06:19.880 shift that you can see, like the you know, if 0:06:19.880 --> 0:06:22.599 you watch movies from the forties, they're obviously speaking and 0:06:22.640 --> 0:06:25.360 performing in a very different manner in which people are 0:06:25.360 --> 0:06:26.760 speaking in performing today. 0:06:27.000 --> 0:06:30.839 Yeah, back then, the only option for really micing actors 0:06:30.920 --> 0:06:34.279 was having them on a closed sound stage. MIC's above 0:06:34.320 --> 0:06:36.760 their head, They're planted in one spot, and they were 0:06:36.760 --> 0:06:40.000 also came much more often from a theatrical background. They 0:06:40.000 --> 0:06:43.000 need to stand, they need to project into the microphone, right, 0:06:43.040 --> 0:06:48.560 and that gives not only a cleaner capture of their performance, 0:06:48.600 --> 0:06:52.240 but also because of that theatrical training, much more enunciation 0:06:52.440 --> 0:06:53.080 of their words. 0:06:53.080 --> 0:06:54.000 They're much clearer. 0:06:54.320 --> 0:06:56.599 You know, the Transatlantic accent was a very big thing, 0:06:56.640 --> 0:07:01.440 and that kind of that, that cadence really helped with intelligibility. 0:07:01.760 --> 0:07:02.360 Absolutely. 0:07:02.839 --> 0:07:03.119 Wow. 0:07:03.600 --> 0:07:08.480 You know, I was telling Peter about this. I directed 0:07:08.520 --> 0:07:10.040 a Broadway show this summer. 0:07:10.560 --> 0:07:12.960 Now, I've appeared on Broadway many times in a mix 0:07:13.000 --> 0:07:15.400 of musicals and plays. In a musical, of course, I 0:07:15.480 --> 0:07:18.760 was always miked. Even back in nineteen eighty one there 0:07:18.840 --> 0:07:21.680 was there was live mixing going on, and any actor 0:07:21.720 --> 0:07:23.800 that's saying had to be mixed to the orchestra. 0:07:24.120 --> 0:07:26.640 Yeah, but never for plays. 0:07:27.400 --> 0:07:31.960 This summer, I hire my sound designer for the show 0:07:32.600 --> 0:07:36.200 and he goes and we're in the smallest theater on Broadway. 0:07:36.360 --> 0:07:39.080 It's five hundred and eighty seats. It's a small theater. 0:07:39.560 --> 0:07:42.200 I did a play in theater that had almost two 0:07:42.240 --> 0:07:45.840 thousand seats. I wasn't miked. He says, what will be 0:07:45.880 --> 0:07:48.840 miking the actors? I go miking the actors. This is 0:07:48.840 --> 0:07:53.800 a play, not and I sort of held my ground 0:07:53.800 --> 0:07:55.440 and said, no, we're not going to mic the actors. 0:07:55.480 --> 0:07:56.240 We're not going to do that. 0:07:56.960 --> 0:07:59.640 We got into tech and I went, I can't hear 0:07:59.680 --> 0:08:00.720 them any I. 0:08:00.640 --> 0:08:04.840 Can't hear them, and he said, more importantly, the audience 0:08:05.040 --> 0:08:08.320 will hate it. The audience is no longer used to 0:08:08.440 --> 0:08:12.040 leaning into the sound. They want it delivered to them 0:08:12.080 --> 0:08:14.680 the way they would hear it if they had headphones. 0:08:15.480 --> 0:08:17.440 And we wound up for the first time in my 0:08:17.560 --> 0:08:21.680 career putting microphones on actors for a play in a 0:08:22.080 --> 0:08:26.440 relatively small theater, so I hear what you're saying about. 0:08:26.560 --> 0:08:29.960 As I watch film and television these days, so many 0:08:30.080 --> 0:08:32.920 scenes that pass for kind of emotion. 0:08:32.800 --> 0:08:35.200 Or intensity, it's really because people are. 0:08:35.080 --> 0:08:35.719 Just talking to me. 0:08:37.400 --> 0:08:39.960 And I'm going, if this were in a real environment, 0:08:40.360 --> 0:08:44.280 the person across the table couldn't hear you, and it 0:08:44.360 --> 0:08:47.160 makes me crazy. So what does it do on to you, guys, 0:08:47.480 --> 0:08:51.560 when you're having actors who literally are barely talking above 0:08:51.559 --> 0:08:53.560 a whisper in a live environment. 0:08:53.840 --> 0:08:56.160 Well as someone who cuts dialogue in adr like that 0:08:56.280 --> 0:09:01.160 is my primary focus as a sound editor. I there's 0:09:01.200 --> 0:09:04.880 something so frustrating about There's a lot that I can do. 0:09:05.120 --> 0:09:07.600 I can remove clicks, I can remove pops. I can 0:09:07.760 --> 0:09:11.200 stitch together to entirely different takes that have entirely different 0:09:11.240 --> 0:09:13.800 background noises. I can I can remove background noise. I 0:09:13.800 --> 0:09:16.840 can do a lot. However, if an actor does not 0:09:17.480 --> 0:09:20.280 enunciate their words, there is nothing that I can do 0:09:20.320 --> 0:09:22.040 to improve that, even if you brought them back into 0:09:22.240 --> 0:09:24.959 re record for ADR. The reality is matching it up 0:09:25.000 --> 0:09:28.240 to matching that sound, up to the movement of their 0:09:28.280 --> 0:09:30.840 lips on the screen. If their lips are barely moving 0:09:31.520 --> 0:09:35.120 trying to do ADR, where there's suddenly over enunciating these words, 0:09:35.160 --> 0:09:38.760 it isn't going to match right. So there's that's where 0:09:38.800 --> 0:09:42.400 an area where it is very frustratingly out of my hands. 0:09:42.920 --> 0:09:45.320 Wow as an audience member, I mean, I feel like 0:09:45.360 --> 0:09:50.199 it's really frustrating, and I'm just like Jesus Christ, like 0:09:50.200 --> 0:09:52.000 I wish I knew what they were saying. And in 0:09:52.200 --> 0:09:54.280 the video that I made. I have this example of 0:09:54.280 --> 0:09:57.280 Pete Davidson and King of Staten Island, and I would 0:09:57.320 --> 0:10:00.480 like to formally apologize to Pete the because I think 0:10:00.520 --> 0:10:03.000 he's given a really good performance. It's not like anything 0:10:03.000 --> 0:10:05.840 about that. But I was watching it. It came out 0:10:05.920 --> 0:10:10.600 during lockdown, and we rewinded it like three times because 0:10:10.679 --> 0:10:13.120 like the climax of the movie is him giving this 0:10:13.280 --> 0:10:17.480 very emotional, heartfelt and he's being honest with his mom 0:10:17.480 --> 0:10:19.400 about how he misses his dad, but he says it 0:10:19.520 --> 0:10:23.360 so wietly, and I'm like why why anyway, So it 0:10:23.440 --> 0:10:26.599 is very frustrating and I do not ever want to 0:10:26.640 --> 0:10:28.679 watch the subtitles, but in moments like that, like I 0:10:28.800 --> 0:10:31.200 understand why people do. And this is one thing that 0:10:31.240 --> 0:10:33.080 Austin sort of talks about in the video, that like 0:10:33.400 --> 0:10:35.520 when you lose the dialogue, you're losing the script. 0:10:35.520 --> 0:10:36.199 And when you lose the. 0:10:36.120 --> 0:10:37.520 Script like you have it was a story. 0:10:37.640 --> 0:10:40.800 Yeah, you know that rise of that more naturalistic performance 0:10:40.840 --> 0:10:43.120 like you were talking about Jason, these actors that. But 0:10:43.320 --> 0:10:45.920 I feel like that has come from you know, we 0:10:45.920 --> 0:10:48.760 were talking about way back in the sound stage days forties, 0:10:48.800 --> 0:10:51.200 where it's like that mike was the only option, where 0:10:51.320 --> 0:10:53.959 as in the seventies suddenly it developed with like oh no, 0:10:53.960 --> 0:10:57.679 now we can take recording systems mobile. They're mobile, now 0:10:57.679 --> 0:10:59.559 we can take them anywhere. The MIC's have gotten smaller 0:10:59.600 --> 0:11:03.360 and smaller, we can hide lobs lovelier microphones anywhere, and 0:11:03.480 --> 0:11:07.280 so I feel like that kind of rise and development 0:11:07.400 --> 0:11:11.679 in recording technology has kind of led to that rise 0:11:11.679 --> 0:11:13.720 in more naturalistic performances. 0:11:13.880 --> 0:11:14.240 It's a thing. 0:11:14.240 --> 0:11:16.280 It allows them to do it. Well, let's talk about technology. 0:11:16.320 --> 0:11:18.600 Then here's one of the examples I saw and I 0:11:18.760 --> 0:11:21.120 remember this in sixties seventies you got a crappy TV 0:11:21.200 --> 0:11:23.560 with a with a crappy speaker and you could hear 0:11:23.559 --> 0:11:28.440 everything really clearly. Today we have televisions and is this correct? 0:11:28.559 --> 0:11:31.480 I read it? So the speakers are thins, they have 0:11:31.520 --> 0:11:33.920 to be really thin, and they face backwards. 0:11:33.559 --> 0:11:34.760 In a lot of seff, yes, they do. 0:11:35.400 --> 0:11:38.560 Okay, why would a company say, you know what, people 0:11:38.600 --> 0:11:43.000 are sitting there, let's project that way and really no. 0:11:42.840 --> 0:11:46.080 Really no, really I know. 0:11:46.120 --> 0:11:49.319 But why is this a sound bar? Is this sell 0:11:49.400 --> 0:11:51.319 you to the sound bars? Everybody goes it sucks. I 0:11:51.360 --> 0:11:51.880 can't hear it. 0:11:52.080 --> 0:11:54.360 I mean like, I mean like I'm not going to 0:11:54.400 --> 0:11:56.040 say a note of that, but I think it's something 0:11:56.080 --> 0:11:58.440 where when it comes to especially television stuff like that, 0:11:58.440 --> 0:11:59.080 they're selling. 0:11:58.880 --> 0:12:01.200 You on like ooh for hey, nice, nice Chris. 0:12:01.280 --> 0:12:05.080 But sound is secondary and you don't realize how sound 0:12:05.080 --> 0:12:07.600 is secondary until you sit down with that monitor and 0:12:07.640 --> 0:12:09.520 you're listening back and you're going, oh wow, I can't 0:12:09.559 --> 0:12:10.719 hear anything, you. 0:12:10.679 --> 0:12:12.160 Know, facing backward. 0:12:13.240 --> 0:12:15.559 We have a thing in our house. Explain this to me, please, 0:12:15.640 --> 0:12:19.960 if you can. The dialogue I can't hear. So you 0:12:20.080 --> 0:12:22.440 crank it up and then all of a sudden there's 0:12:22.480 --> 0:12:24.120 a bit of soundtrack. 0:12:23.640 --> 0:12:27.360 Music and all head blows off. You go to commercial 0:12:27.760 --> 0:12:28.840 and there's screaming. 0:12:29.200 --> 0:12:31.760 Yeah, we should ask the editor. 0:12:31.760 --> 0:12:33.720 I think, rather than you want this one right, how 0:12:33.760 --> 0:12:35.640 do you what is happening? 0:12:35.760 --> 0:12:38.720 What's happening from set to editing there? 0:12:46.600 --> 0:12:48.520 Editor? I think, rather than you want this one right, 0:12:48.720 --> 0:12:50.760 how do what is happening? 0:12:50.880 --> 0:12:53.840 What's happening from set to editing there? 0:12:54.280 --> 0:12:56.240 Well, I feel like again it comes back to that 0:12:56.320 --> 0:13:01.800 kind of technology growing so fast? Is that back in 0:13:01.840 --> 0:13:04.280 the day you're talking about, Like back when television you know, 0:13:04.400 --> 0:13:07.120 crappy speakers, you can still hear everything. Back then, it 0:13:07.160 --> 0:13:09.240 was just you had one channel, you had one mono 0:13:09.320 --> 0:13:13.040 channel that everything went into. Nowadays, for TV, I mean, 0:13:13.040 --> 0:13:15.360 it's not even a standard to mix in stereo. It's 0:13:15.360 --> 0:13:18.640 standard to mix in usually five point one surround. I 0:13:18.640 --> 0:13:20.560 think the only things that really get mixed into stereo 0:13:20.600 --> 0:13:24.040 nowadays are kind of like the traditional multi camera sitcoms, 0:13:24.080 --> 0:13:26.200 which will you know, get mixed into a single day. 0:13:26.559 --> 0:13:30.720 So five point one is now the standard. Not everyone 0:13:30.760 --> 0:13:31.880 has a five point one setup. 0:13:31.920 --> 0:13:32.720 When you say five. 0:13:32.559 --> 0:13:34.559 Point one just for ignorant people like me, is that 0:13:34.960 --> 0:13:37.600 is that like sort of cinema surround sound kind of yeah? 0:13:37.800 --> 0:13:39.240 Okay, yeah, so and. 0:13:39.240 --> 0:13:43.120 So that's kind of the standard now. And we when 0:13:43.200 --> 0:13:47.080 it comes to mixing stuff, once I hand my my edit, 0:13:47.120 --> 0:13:49.920 my clean, pretty edit of the dialogue over to be 0:13:50.040 --> 0:13:52.720 integrated with everything else, that is what they're focusing on. 0:13:52.800 --> 0:13:55.160 That is what we're paid to do they and it 0:13:55.280 --> 0:13:58.800 is a very meticulous thing, like I will sit and 0:13:58.800 --> 0:14:02.080 I will watch mixers go over the five seconds for 0:14:02.200 --> 0:14:04.640 like minutes at a time to get that balance just right. 0:14:04.960 --> 0:14:08.120 And we spend days on that. And then when it's 0:14:08.160 --> 0:14:11.360 all done and finished, when it comes time to like, okay, 0:14:11.360 --> 0:14:12.800 what about stereo mixes? 0:14:12.840 --> 0:14:14.000 What about mono mixes? 0:14:14.960 --> 0:14:16.560 They don't want to pay us for that. You know, 0:14:16.600 --> 0:14:18.640 we aren't given that same amount of time. We're giving 0:14:18.679 --> 0:14:20.000 them the same amount of time to go back through 0:14:20.040 --> 0:14:22.760 the episode and do a stereo mix. That type of nuance, 0:14:23.000 --> 0:14:25.280 and this is where Edward brought it up first. The 0:14:25.280 --> 0:14:28.040 concept of down mixing comes from where you take the 0:14:28.200 --> 0:14:31.720 format with the highest number of channels available and you 0:14:31.800 --> 0:14:34.560 fold it down into formats with lesser channels. 0:14:34.560 --> 0:14:37.280 So to understand you, if you don't have five point 0:14:37.360 --> 0:14:41.920 one on your okay, fiss them, it comes out model 0:14:41.960 --> 0:14:43.480 that comes out not as good. 0:14:43.720 --> 0:14:45.080 Correct? Is that the problem? 0:14:45.400 --> 0:14:46.120 I believe? 0:14:46.440 --> 0:14:47.960 And by the way, five point one is now the 0:14:48.000 --> 0:14:51.480 standard for television, the highest standard, and actually this will 0:14:51.520 --> 0:14:54.680 sometimes be used for those bigger things like the Stranger Things, 0:14:54.720 --> 0:14:55.160 Star Wars. 0:14:55.200 --> 0:14:55.520 Stuff. 0:14:55.640 --> 0:14:58.640 Is a format called Dolby at Most, which can have 0:14:58.800 --> 0:15:01.160 up to one hundred and tw twenty eight channels going 0:15:01.200 --> 0:15:05.480 at once, which is insane to think about that. That 0:15:05.520 --> 0:15:08.280 system is absolutely when you see it in the right format, 0:15:08.640 --> 0:15:09.360 it's incredible. 0:15:09.400 --> 0:15:12.840 But then you have to spend one hundred million dollars 0:15:12.880 --> 0:15:16.360 in your bedroom to be able to hear Dully at Most. 0:15:16.480 --> 0:15:16.960 Instead. 0:15:17.520 --> 0:15:20.600 I'm reading subtitles because it's it's at the peak. But 0:15:20.680 --> 0:15:22.520 I'm like it, look, that's that's pretty insane. 0:15:22.640 --> 0:15:26.120 Correct, Yeah, And especially because when you're given that amount 0:15:26.120 --> 0:15:28.800 of almost like playspace, you know, of one hundred and 0:15:28.800 --> 0:15:30.600 twenty eight channels. Of course you're going to want to 0:15:30.600 --> 0:15:33.280 be pushing out a lot more sound. That's a lot 0:15:33.320 --> 0:15:35.640 more space for you to color in. However, when it 0:15:35.680 --> 0:15:39.880 comes time to fold down all of that sound into 0:15:40.840 --> 0:15:44.240 five five point one channels, two channels, one channel, then 0:15:44.320 --> 0:15:47.320 things can get mndy, especially when we are taking into 0:15:47.400 --> 0:15:50.600 account the concept of dynamic range, which is something that 0:15:50.720 --> 0:15:52.040 Edward touches on upon the. 0:15:52.320 --> 0:15:53.240 In the video. 0:15:53.760 --> 0:15:57.480 Edward, Yeah, one thing we talked about in the video 0:15:57.560 --> 0:16:00.720 is the concept of like, if you have a explosion, 0:16:01.240 --> 0:16:03.520 you want to feel that, you know, like you want 0:16:03.560 --> 0:16:08.360 it to be impactful, and so that has to be loud. 0:16:08.880 --> 0:16:11.640 But there is only a certain level of loud that 0:16:11.720 --> 0:16:13.960 you can reach, like there's a ceiling for it, whereas 0:16:13.960 --> 0:16:18.360 there isn't as as much of a floor for how 0:16:18.400 --> 0:16:21.320 low something can be. And so I'm sure you guys 0:16:21.320 --> 0:16:23.000 know making a podcast, like if I were to start 0:16:23.040 --> 0:16:26.320 screaming right now, everything would clip and it'd be unusable audio. 0:16:26.720 --> 0:16:27.400 You don't want that. 0:16:27.600 --> 0:16:29.400 If the explosion is going to be your loudest thing, 0:16:29.600 --> 0:16:32.920 then the dialogue simply can't be. And if you want 0:16:32.920 --> 0:16:36.720 the explosion to be impactful, then you can't bring that 0:16:36.840 --> 0:16:39.080 up because it will clip. So the dialogue and seid 0:16:39.160 --> 0:16:42.160 has to come down to create enough space where it 0:16:42.280 --> 0:16:45.280 feels like the explosion is bigger than contrast. 0:16:45.560 --> 0:16:48.240 The dynamic range is pretty much the range between the 0:16:48.320 --> 0:16:52.120 loudest sound in your mix and the quiet as so the. 0:16:52.160 --> 0:16:54.600 Action movies would be the biggest challenge because they're blowing 0:16:54.680 --> 0:16:56.720 up prep all through the movie and then you got 0:16:56.840 --> 0:16:59.840 whoever Stallan or whatever mumbling and talking. There's got to 0:16:59.880 --> 0:17:02.640 be down here lower than normal in a movie where 0:17:02.640 --> 0:17:03.440 you don't have explosions. 0:17:03.560 --> 0:17:05.200 Yes, yeah, and you even have to think about dynamic 0:17:05.280 --> 0:17:07.119 range when it even comes to dialogue where it's like 0:17:07.119 --> 0:17:10.440 someone who's yelling, it should sound louder than someone who's whispering, 0:17:10.720 --> 0:17:11.600 you know, So there's. 0:17:11.440 --> 0:17:14.520 Even that type of nuance even in just that little area. 0:17:14.720 --> 0:17:18.520 You know, this made me wonder maybe, you know, generally 0:17:18.760 --> 0:17:21.440 I'm not a big AI fan, but is there any 0:17:21.480 --> 0:17:27.320 talk of adding AI technology to our listening devices, our 0:17:27.400 --> 0:17:31.600 televisions and whatnot so that there is a sort of 0:17:32.040 --> 0:17:36.920 a constant adjustment going on so that the listener or 0:17:37.080 --> 0:17:41.480 viewer can get an appreciable amount, still get these effects 0:17:41.520 --> 0:17:45.000 that you're going for, but still have an appreciable amount 0:17:45.040 --> 0:17:46.960 of sound so that you wouldn't have to go to 0:17:47.000 --> 0:17:47.880 a subtitle sitch. 0:17:48.560 --> 0:17:53.679 I believe Amazon Prime had announced something similar something you 0:17:53.720 --> 0:17:55.880 can to what you're describing. I don't know if they've 0:17:55.880 --> 0:17:58.199 actually implemented it yet, but that's kind of also a 0:17:58.240 --> 0:18:01.440 big issue is that there is no standardation amongst all 0:18:01.440 --> 0:18:05.280 of these streaming platforms, you know, in terms of you know, 0:18:05.400 --> 0:18:08.479 sometimes we hand them the five point one mix and 0:18:08.560 --> 0:18:11.320 they have their own algorithm that will process and you know, 0:18:11.680 --> 0:18:16.000 will pump out a stereo mix themselves. You know, sometimes 0:18:16.440 --> 0:18:19.200 they have us do it. You know, it's something where 0:18:19.560 --> 0:18:23.520 there there is no standardization in terms of how any 0:18:23.560 --> 0:18:25.520 of these kind of mixed downs are handled. 0:18:26.000 --> 0:18:29.520 Money it is, it is. It is very much a mess. 0:18:29.640 --> 0:18:31.520 So I definitely think that that's a part of it. 0:18:31.560 --> 0:18:35.280 But I do have two things just before on your 0:18:35.359 --> 0:18:38.480 question about if there's any AI stuff that can make 0:18:38.560 --> 0:18:41.639 things come through care. We touch on it very briefly 0:18:41.640 --> 0:18:43.320 in the video, but there are TVs where you can 0:18:43.359 --> 0:18:46.520 like switch the modes where it's like voice clarity mode. 0:18:46.760 --> 0:18:49.600 So while there is that stuff, I personally don't know 0:18:49.640 --> 0:18:52.240 if that's like the right way to move forward. 0:18:52.240 --> 0:18:52.560 About it. 0:18:52.800 --> 0:18:55.560