0:01

Really now,

0:04

really.

0:06

Really no,

0:09

really well, and welcome to really no Really

0:11

with Jason Alexander and Peter Tilden, who

0:13

hope you can hear and understand them when

0:15

they say please subscribe. Really, have

0:18

you noticed how often it's really hard

0:20

to hear and understand the dialogue and video

0:22

content.

0:23

It's not just you.

0:24

Research shows that as many as sixty one percent

0:26

of us are using subtitles consistently

0:28

when watching video content, and content

0:30

creators secretly admit that there's an actual

0:33

problem. Really no really, Today

0:35

we'll find out what that problem is and why

0:37

despite cutting edge technologies, it's harder

0:39

to clearly hear and understand what actors

0:42

are saying in the shows and movies we watch.

0:44

Will welcome film researcher and producer

0:47

Ed Vega, who specializes in all things

0:49

cinema, from film history to the nuts

0:51

and bolts of filmmaking. And we also welcome

0:54

dialogue sound editor Austin Olivia

0:56

Kendrick and hopefully everyone

0:58

will speak clearly.

1:00

Now here's Jason and Peter.

1:02

Now this is an episode on subtitles, because

1:04

everywhere I look there's articles about

1:06

why is everybody using subtitles?

1:08

You told me, what's the percentage of people that actually

1:10

it depends on the demographic, but in some

1:13

as high sixty one percent.

1:15

And we'll talk to our guests about that. Millennials different

1:17

than gen zs are different.

1:17

Recearching online

1:19

content and television whatever brought in.

1:21

I saw this tape that Edward Vegeman, who is

1:24

a Vox Video is in the Vox Video

1:26

team, video producer and he does cinem

1:28

et cetera.

1:29

It was so good.

1:30

And then he had on our other guests, Austin

1:32

Olivia Kendrick, who's the sound editor.

1:34

I figured, you know what, I'm tired of doing all the research.

1:36

Yeah, he's so good. Let's just get him on and he'll give

1:38

us day.

1:39

Yeah, got you.

1:42

Having come, of course, thank you for

1:44

having us man, Thank you so much.

1:46

Let's talk about this. The statistics are

1:49

out of control. And by the way, it's

1:51

again it's all over the place, depending

1:53

on what publication you read, but it

1:55

is it's growing, becoming more

1:57

prevalent, and it is in some demographics sixty

2:00

percent and going

2:02

up.

2:03

So talk to us about what's going on.

2:05

What the going is this happening?

2:07

You guys, I mean, Edward, I will let you

2:09

kind of take the lead on where do you't even want to start?

2:11

Because the answer to this is very

2:13

layered.

2:14

It's not one simple like if we just fix

2:16

this, the whole problem will go away.

2:18

So, Edward, where do you want to start?

2:21

I think a good place to maybe start, just since you

2:23

guys were so kind and generous

2:26

about the video that I made, is

2:28

maybe with that, because this is a question

2:31

that I had and a lot of my friends had for a long time,

2:33

and there wasn't really anything about it, Like when

2:35

I before I made that video, I feel like, now there's

2:37

been a lot of articles, right, But truly, there was

2:40

one article that I was able to find, and it was a

2:42

bunch of people who wanted to stay anonymous because

2:44

they were worried that if they said anything bad

2:46

about things that they had worked on they like.

2:51

So when I pitched this video, I

2:53

was like, yeah, we might not be able to get anybody

2:55

because you know, it's like a very sensitive topic. And

2:58

so I was just going on TikTok one and

3:00

I had watched some of Austin's other videos,

3:03

but I was like, oh man, she's perfect, she's like talking

3:05

on camera, so I should reach out to her.

3:08

But yeah, everybody, it

3:10

was funny when I first talked to Austin, asked her if

3:12

she used subtitles because I don't.

3:14

I prefer not to. I do, everybody

3:17

in my family does, and Austin does.

3:18

Yeah, Like we were just almost

3:21

joking about, like you have to be able to turn off your

3:23

work brain. For me, I go to work

3:25

and I spend the whole day dissecting people's

3:27

words, the dialogue, and so it

3:30

helps me be able to disengage

3:32

that part of my brain and just genuinely enjoy

3:35

what I'm watching, you know, instead of like

3:37

going in and like criticizing it as

3:40

an editor.

3:40

So I totally understand that, given

3:43

what you do for a profession. The

3:46

reason I tend to unless it's a foreign

3:48

language, and I do prefer to listen

3:51

to the organic a great and watch

3:53

a subtitle.

3:54

But other than that situation, I don't

3:56

use subtitles because.

3:58

Maybe meet reader, but

4:01

it pulls my attention down to that bottom

4:03

part of the screen and I'm missing the visual.

4:05

I'm missing the rest of the performance.

4:07

Agree, I find it so distracted.

4:08

Say that it's interesting you say that, But what I found

4:10

is, even with good hearing, you're missing stuff

4:13

and I'm reading going Wait a minute, I didn't

4:16

know that they Wait there's comments in the background. Wait,

4:18

there's that. I'm missing eight

4:21

of the stuff. So I get so used

4:24

to that that I feel if I don't use it,

4:26

I'm going to miss out on something.

4:27

Start.

4:27

Yeah, and I have the exact opposite.

4:29

I would rather and maybe it's

4:31

because I'm an actor and I'm so performance

4:33

oriented. I'd rather watch and

4:36

take in what the director

4:38

and the the actors are

4:40

are creating and go,

4:43

I'll get the sound I don't need, you know. So

4:46

I'm surprised that

4:48

people who don't do what you guys do for a living

4:51

and who are at.

4:52

Double you know, aren't checking their

4:54

Twitter feed.

4:55

Yeah, I just I.

4:59

Guess I don't get it in many things

5:01

that about, you know, what is happening in culture

5:04

that I don't get, but this is absolutely one

5:06

of them.

5:07

It feels like a diminished experience.

5:10

So talk about the generational thoughts, start

5:12

getting into some layers, because it's really interesting.

5:15

Yeah.

5:15

I feel like a big kind of route

5:17

of it has been the advancement of technology,

5:20

both in terms of what

5:23

we can do when recording actors

5:25

as well as on the back end on

5:27

the editing, on the mixing on the you know, delivery

5:30

to movies theaters, down

5:32

to streaming and stuff like that. It's it's

5:34

all kind of expanded in a way

5:37

that has made it a much harder for

5:39

us to control, like the the

5:44

level of dialogue to the

5:46

rest of the soundscape.

5:49

You've only been doing it a couple of years, but I know you're sensitive

5:51

to it. Is it changed about how they're making

5:53

people, how actors are enunciating, and how

5:55

much background noise that's acceptable

5:58

when they're filming that they anticipate

6:01

you can take out because of tech.

6:03

Well, Edward, where do you want to start

6:05

with that? How far back do we want to go there

6:07

yet?

6:08

Yeah, that's a good question.

6:10

I think maybe performance is a good place to start,

6:12

since you guys are asking about how technology has sort

6:14

of changed, because I think that's maybe the most obvious

6:17

shift that you can see, like the you know,

6:19

if you watch movies from the forties, they're obviously

6:22

speaking and performing in a very different manner

6:24

in which people are speaking in performing today.

6:27

Yeah, back then, the only option

6:29

for really micing actors was having

6:31

them on a closed sound stage.

6:33

MIC's above their head, They're planted in one spot,

6:36

and they were also came much more

6:38

often from a theatrical background. They need to stand,

6:40

they need to project into the microphone, right,

6:43

and that gives not only a

6:46

cleaner capture of their performance, but also

6:49

because of that theatrical training, much

6:51

more enunciation of their words.

6:53

They're much clearer.

6:54

You know, the Transatlantic accent was a very big

6:56

thing, and that kind of that, that

6:58

cadence really helped with intelligibility.

7:01

Absolutely.

7:02

Wow.

7:03

You know, I was telling Peter

7:05

about this. I

7:08

directed a Broadway show this summer.

7:10

Now, I've appeared on Broadway many times in

7:12

a mix of musicals and plays. In a musical,

7:14

of course, I was always miked. Even back in nineteen

7:17

eighty one there was there

7:19

was live mixing going on, and any actor

7:21

that's saying had to be mixed to the orchestra.

7:24

Yeah, but never for plays.

7:27

This summer, I

7:29

hire my sound designer for the show

7:32

and he goes and we're in the smallest

7:35

theater on Broadway.

7:36

It's five hundred and eighty seats. It's a small

7:38

theater.

7:39

I did a play in theater that had

7:41

almost two thousand seats. I wasn't miked.

7:44

He says, what will be miking the actors? I go miking

7:47

the actors. This is a play,

7:50

not and

7:52

I sort of held my ground and said, no, we're not

7:54

going to mic the actors. We're not going to do that.

7:56

We got into tech and I went, I

7:59

can't hear them any I.

8:00

Can't hear them, and he

8:02

said, more importantly, the audience

8:05

will hate it. The audience is

8:07

no longer used to leaning into the

8:09

sound. They want it delivered

8:11

to them the way they would hear it if

8:13

they had headphones. And we

8:16

wound up for the first time in my career putting

8:18

microphones on actors for a play

8:21

in a relatively small theater, so

8:25

I hear what you're saying about. As I watch

8:27

film and television these days, so

8:29

many scenes that pass for kind

8:32

of emotion.

8:32

Or intensity, it's really because people

8:34

are.

8:35

Just talking to me.

8:37

And I'm going, if this were in a real environment,

8:40

the person across the table couldn't hear

8:42

you, and it makes

8:44

me crazy. So what does it do on to you,

8:46

guys, when you're having actors

8:49

who literally are barely talking

8:51

above a whisper in a live environment.

8:53

Well as someone who cuts dialogue in adr like

8:56

that is my primary focus as a sound editor.

8:58

I there's

9:01

something so frustrating about There's

9:04

a lot that I can do. I can remove clicks,

9:06

I can remove pops. I can stitch together

9:09

to entirely different takes that have entirely different

9:11

background noises. I can I can remove background

9:13

noise. I can do a lot. However, if an actor

9:16

does not enunciate their words,

9:18

there is nothing that I can do to improve that, even

9:21

if you brought them back into re record for ADR.

9:23

The reality is matching it up to matching

9:25

that sound, up to the movement

9:27

of their lips on the screen. If their lips are

9:30

barely moving trying to do ADR,

9:32

where there's suddenly over enunciating

9:34

these words, it isn't going to match right. So there's

9:38

that's where an area where it is very

9:40

frustratingly out of my hands.

9:42

Wow as an audience member, I mean, I

9:44

feel like it's really

9:47

frustrating, and I'm

9:49

just like Jesus Christ, like I wish I knew what they were

9:51

saying. And in the video that I made.

9:53

I have this example of Pete Davidson and King

9:55

of Staten Island, and I would like to formally

9:58

apologize to Pete the because

10:00

I think he's given a really good performance. It's

10:02

not like anything about that. But I was

10:04

watching it. It came out during lockdown,

10:07

and we rewinded it like

10:09

three times because like the climax

10:11

of the movie is him giving this very emotional,

10:14

heartfelt and

10:16

he's being honest with his mom about how he misses his dad,

10:18

but he says it so wietly, and I'm like

10:21

why why anyway, So it is

10:23

very frustrating and I do

10:25

not ever want to watch the subtitles, but in moments

10:28

like that, like I understand why people do. And

10:30

this is one thing that Austin sort of talks about in the

10:32

video, that like when you lose the dialogue,

10:34

you're losing the script.

10:35

And when you lose the.

10:36

Script like you have it was a story.

10:37

Yeah, you know that rise of that more naturalistic

10:40

performance like you were talking about Jason, these

10:42

actors that. But I feel like that has

10:44

come from you know, we were talking about

10:46

way back in the sound stage days forties,

10:48

where it's like that mike was the only option, where

10:51

as in the seventies suddenly it developed

10:53

with like oh no, now we can take recording

10:55

systems mobile. They're mobile, now

10:57

we can take them anywhere. The MIC's have gotten smaller and smaller,

11:00

we can hide lobs lovelier microphones

11:02

anywhere, and so I feel

11:04

like that kind of rise and development

11:07

in recording technology has

11:09

kind of led to that rise in

11:11

more naturalistic performances.

11:13

It's a thing.

11:14

It allows them to do it. Well, let's talk about technology.

11:16

Then here's one of the examples I saw

11:18

and I remember this in sixties seventies you got

11:20

a crappy TV with a with a crappy speaker

11:23

and you could hear everything really clearly. Today

11:25

we have televisions and is this

11:28

correct? I read it? So

11:30

the speakers are thins, they have to be really thin, and

11:32

they face backwards.

11:33

In a lot of seff, yes, they do.

11:35

Okay, why would a company say,

11:37

you know what, people are sitting there, let's

11:40

project that way and really no.

11:42

Really no, really

11:45

I know.

11:46

But why is this a sound bar? Is

11:48

this sell you to the sound bars? Everybody

11:50

goes it sucks. I can't hear it.

11:52

I mean like, I mean like I'm not

11:54

going to say a note of that, but I think it's something where

11:56

when it comes to especially television stuff like

11:58

that, they're selling.

11:58

You on like ooh for hey, nice, nice

12:01

Chris.

12:01

But sound is secondary and

12:03

you don't realize how sound is secondary until

12:05

you sit down with that monitor and you're listening

12:08

back and you're going, oh wow, I can't hear anything,

12:10

you.

12:10

Know, facing backward.

12:13

We have a thing in our house. Explain this to me, please,

12:15

if you can. The

12:18

dialogue I can't hear. So you crank it up

12:21

and then all of a sudden there's a bit of soundtrack.

12:23

Music and all head blows off. You

12:26

go to commercial and there's screaming.

12:29

Yeah, we should ask

12:31

the editor.

12:31

I think, rather than you want this one right, how do

12:33

you what is happening?

12:35

What's happening from set to

12:38

editing there?

12:46

Editor? I think, rather than you want this one right, how

12:48

do what is happening?

12:50

What's happening from set to

12:53

editing there?

12:54

Well, I feel like again it comes back to that kind

12:56

of technology

12:58

growing so fast? Is that

13:01

back in the day you're talking about, Like back when television

13:04

you know, crappy speakers, you can still hear everything.

13:06

Back then, it was just you had one channel, you had

13:08

one mono channel that everything went into.

13:11

Nowadays, for TV, I mean, it's

13:13

not even a standard to mix in stereo. It's

13:15

standard to mix in usually five point one surround.

13:18

I think the only things that really get mixed into stereo

13:20

nowadays are kind of like the traditional multi

13:22

camera sitcoms, which will you know, get

13:25

mixed into a single day. So five

13:27

point one is now the standard. Not

13:30

everyone has a five point one setup.

13:31

When you say five.

13:32

Point one just for ignorant people like me, is

13:34

that is that like sort of cinema surround

13:36

sound kind of yeah?

13:37

Okay, yeah, so and.

13:39

So that's kind of the standard now. And

13:42

we when it comes to mixing

13:44

stuff, once I hand my

13:46

my edit, my clean, pretty edit of the dialogue

13:48

over to be integrated with everything

13:51

else, that is what they're focusing on. That is what

13:53

we're paid to do they and it

13:55

is a very meticulous thing, like

13:57

I will sit and I will watch mixers go over the five

14:01

seconds for like minutes at a time

14:03

to get that balance just right. And we spend

14:05

days on that. And then when

14:07

it's all done and finished, when it

14:10

comes time to like, okay, what about stereo

14:12

mixes?

14:12

What about mono mixes?

14:14

They don't want to pay us for that. You know, we aren't given

14:17

that same amount of time. We're giving them the same amount

14:19

of time to go back through the episode and do a

14:21

stereo mix. That type of nuance, and this is

14:23

where Edward brought it up first. The concept

14:25

of down mixing comes from where you take the

14:28

format with the highest number of channels

14:30

available and you fold it down

14:32

into formats with lesser channels.

14:34

So to understand you, if you don't

14:36

have five point one on your okay,

14:39

fiss them, it comes out

14:41

model that comes out not as good.

14:43

Correct? Is that the problem?

14:45

I believe?

14:46

And by the way, five point one is now the standard for television,

14:49

the highest standard, and actually this will

14:51

sometimes be used for those bigger things

14:53

like the Stranger Things, Star Wars.

14:55

Stuff.

14:55

Is a format called Dolby at Most, which

14:58

can have up to one hundred and tw twenty eight

15:00

channels going at once, which

15:03

is insane to think about that. That system

15:05

is absolutely when you see it in the right format,

15:08

it's incredible.

15:09

But then you have to spend one

15:11

hundred million dollars in your bedroom

15:14

to be able to hear Dully at

15:16

Most.

15:16

Instead.

15:17

I'm reading subtitles because it's

15:19

it's at the peak. But I'm like it, look, that's that's

15:21

pretty insane.

15:22

Correct, Yeah, And especially because when

15:24

you're given that amount of almost like playspace,

15:27

you know, of one hundred and twenty eight channels. Of course

15:29

you're going to want to be pushing out a

15:32

lot more sound. That's a lot more space for you to

15:34

color in. However, when it comes time to

15:36

fold down all of that sound

15:39

into five five

15:41

point one channels, two channels, one channel,

15:44

then things can get mndy, especially when we are

15:46

taking into account the concept

15:48

of dynamic range, which is something that Edward

15:51

touches on upon the.

15:52

In the video.

15:53

Edward, Yeah,

15:56

one thing we talked about in the video is the concept of

15:58

like, if you have a explosion,

16:01

you want to feel that, you know, like you

16:03

want it to be impactful, and

16:06

so that has to be loud.

16:08

But there is only a certain level

16:11

of loud that you can reach, like there's a ceiling for

16:13

it, whereas there isn't as as

16:16

much of a floor for

16:18

how low something can be. And

16:20

so I'm sure you guys know making a podcast,

16:22

like if I were to start screaming right now, everything

16:24

would clip and it'd be unusable audio.

16:26

You don't want that.

16:27

If the explosion is going to be your loudest thing, then

16:29

the dialogue simply can't be. And

16:32

if you want the explosion to be impactful,

16:35

then you can't bring that up because

16:37

it will clip. So the dialogue and seid has

16:39

to come down to create enough space

16:41

where it feels like the explosion is bigger

16:44

than contrast.

16:45

The dynamic range is pretty much the range

16:47

between the loudest sound in your mix

16:50

and the quiet as so the.

16:52

Action movies would be the biggest challenge because they're

16:54

blowing up prep all through the movie and then

16:56

you got whoever Stallan or whatever mumbling

16:58

and talking. There's got to be down here

17:00

lower than normal in a movie where

17:02

you don't have explosions.

17:03

Yes, yeah, and you even have to think about dynamic range when

17:05

it even comes to dialogue where it's like someone who's yelling,

17:08

it should sound louder than someone who's whispering, you

17:10

know, So there's.

17:11

Even that type of nuance even in just that

17:13

little area.

17:14

You know, this made me wonder maybe,

17:17

you know, generally I'm not a

17:19

big AI fan, but is there any

17:21

talk of adding

17:23

AI technology to our listening

17:26

devices, our televisions and whatnot

17:28

so that there is a

17:31

sort of a constant adjustment going

17:33

on so that the listener

17:36

or viewer can get

17:39

an appreciable amount, still get these

17:41

effects that you're going for, but still have an

17:43

appreciable amount of sound so

17:45

that you wouldn't have to go to a subtitle sitch.

17:48

I believe Amazon Prime had

17:51

announced something similar something

17:53

you can to what you're describing. I don't know if

17:55

they've actually implemented it yet, but that's kind of

17:57

also a big issue is that there is no standardation

18:00

amongst all of these streaming platforms, you

18:03

know, in terms of you

18:05

know, sometimes we hand them

18:07

the five point one mix and they have their own

18:09

algorithm that will process and you know,

18:11

will pump out a stereo mix themselves.

18:14

You know, sometimes they

18:16

have us do it. You know, it's something

18:18

where there there

18:21

is no standardization in terms of how any

18:23

of these kind of mixed downs are handled.

18:26

Money it is, it is. It

18:28

is very much a mess.

18:29

So I definitely think that that's a part of it. But

18:31

I do have two things just before

18:34

on your question about

18:36

if there's any AI stuff that

18:38

can make things come through care. We

18:40

touch on it very briefly in the video, but there are TVs

18:42

where you can like switch the modes where it's like voice

18:45

clarity mode. So while there

18:47

is that stuff, I personally don't know

18:49

if that's like the right way

18:51

to move forward.

18:52

About it.

18:52

The other thing I'll say is that there is

18:55

an article that came out after I made my video from

18:58

the Atlantic that talks a little bit about loudness

19:00

standards. And in the pre streaming

19:02

days, there was a standard whereas

19:05

based off of the dialogue and how loud

19:07

that was in relation to everything else.

19:09

And when it transitioned into streaming, things

19:12

became a lot different where it was based

19:14

off the overall loudness. You

19:17

know, the standards that are being

19:19

used aren't specific

19:22

to the dialogue. It's you know, just the overall

19:24

loudness.

19:25

So it's amazing because it's still the wild Western as

19:27

far along as we are technologically.

19:29

Yeah, it is the wild wild West at.

19:31

This one point.

19:31

And I don't even think we could implement something like you

19:34

know, the way that George Lucas implemented

19:36

THHX patch in the eight back in the eighties, which

19:38

is just a certification for the playback of sound,

19:40

which you know, he was able to widely implement

19:43

and push the entire industry to

19:45

adopt. Suddenly by pretty much holding

19:47

Return of the Jedi hostage. Oh you you want

19:50

the copy of of Return of the Jedi.

19:52

Cool, You have to THHX.

19:56

You know, and I'm not even sure, given

19:59

how kind of things are spread

20:01

out amongst all these you know, the market

20:03

looks a lot different.

20:04

I'm not sure that we could.

20:05

Have that type of mass push across

20:08

the industry.

20:09

Again. I would like to see it.

20:11

I would love to see something like TCHX reintroduced,

20:13

because there is something so frustrating about working

20:16

very hard on the dialogue but also

20:18

across this entire as

20:21

sound people were trying to create. We're storytellers,

20:23

you know, on this front, and to work

20:26

so hard and to see all

20:28

of my colleagues work and my work

20:30

and you know, kind of all of that fall

20:33

apart.

20:33

You know, once it's out of our hands, you're

20:36

very frustrated.

20:37

You mix stuff and you go home. Do you ever watch

20:39

what you mixed? And you go, holy crap.

20:41

It's hard to it's hard to listen back to stuff

20:43

I've worked on because I always think about stuff that I could do

20:45

better.

20:46

Really, yep, let me tell you.

20:48

There is nothing I've been in that was filmed or I

20:50

don't go that's what they did?

20:53

Yeah?

20:54

Everything?

20:55

Yeah, yeah, I mean on

20:57

the Seinfeld Show, we used to shoot our episodes

21:00

significantly longer than they could air, And

21:02

one of the philosophies that Jerry and Larry had

21:04

was, when we get to the edit, we'll use

21:07

the stuff we like the most, and you know, anything

21:09

that doesn't make the grade we'll get rid of.

21:11

But you know, I remember watching watching

21:13

an episode where in it's on

21:17

Tell.

21:17

When I saw it on the air, I was

21:19

moving around Jerry's apartment with no discernible

21:21

way of having gotten there because they

21:24

had taken.

21:24

Out two lines here and two lines.

21:26

Here where I had done the move, and I went,

21:28

oh my god, I can't watch this anymore.

21:30

You know, it's actors get or maybe

21:32

it's just me. It could be just me.

21:34

I get a little precious of If you've given me a

21:36

six line speech and you're going to cut line

21:38

two and four, it's.

21:40

No longer anything that I

21:42

did.

21:42

It may be better, it could be worse,

21:44

it could be the same, but my experience of

21:46

it is doesn't not what I did. But I

21:49

was going to go back one and just when

21:51

we talk about the subtitle, I think this was interesting

21:54

to me because the whole premise of our conversation

21:56

today is about the use of subtitles.

21:59

But I was reading the there was a European commissioned

22:01

survey that noted that eighty

22:04

percent of people in non

22:06

English speaking countries for

22:08

first subtitle, only

22:11

four percent of people in the United States preferred

22:13

they'd rather hear the dub.

22:15

They'd rather hear the other actor because

22:17

they don't know.

22:19

I'm not that now.

22:20

I as much as I don't like subtitling, I'm

22:22

not that. But I also thought,

22:25

look at US America, too lazy to read

22:27

that. We don't want to we don't have to work

22:29

for it, we don't want to have to work.

22:31

I'd rather not see the original performance.

22:33

I hate that, Edward. What else did you find?

22:35

I know Adhd plays in. There's a lot

22:37

to plays into this.

22:38

Too, man, I mean, so much

22:40

stuff, A lot of it is in the video.

22:43

One thing that we don't get into too much,

22:45

but I think is very important to note is that, like, on

22:48

one hand, it's kind of not for most

22:50

of us. You know, like a lot of us are using subtitles

22:52

because we want to have a richer

22:55

understanding of what we're watching and

22:57

not feel like we're missing anything. But there

22:59

is a large majority of people

23:01

that need it because you know, they're hard

23:03

of hearing, or their death.

23:05

Even have a sensory processing you know, yeah.

23:08

Right, it has made things a lot more

23:10

accessible.

23:11

You know, I was listening to a podcast earlier that was saying

23:13

that Netflix, when they first

23:16

transitioned from DVD to having a streaming

23:18

platform, very few

23:20

of their shows had accurate subtitles,

23:23

and now it's it's most of them.

23:26

And you know, I think that that stuff like

23:28

sort of gets lost in the conversation of us being

23:30

like, I can't hear Tom when

23:33

he says stuff, which again you.

23:38

Could you could also be We had Kevin Pollock on

23:40

who taught us how to do Jason Statham.

23:44

The secret is to take six words

23:46

do you know what I mean?

23:49

And you reduce them down to

23:53

just that's your

23:55

job.

23:55

That is your job. Makes somebody

23:58

has to type in mean.

24:02

But no, I'm one hundred percent on the same page

24:04

as Edward in the way of I don't mind

24:06

the rise of subtitles, in the way of that means,

24:09

are the stories that we're trying

24:11

to tell are more accessible to more

24:14

people? You know, things like subtitles

24:16

and even audio descriptions.

24:18

It just knowing that we can

24:20

still have that story connect with a greater audience.

24:23

That's ultimately you know, and I

24:25

mean there are legitimate frustrations in you

24:27

know, be in what we're talking about,

24:30

but ultimately the fact that more

24:32

people are able to interact with the story.

24:33

The fact that more people's hearing is being

24:36

impaired.

24:36

Frankly, it's not even just doing

24:39

what you and I are doing right now.

24:40

I am hearing you at.

24:42

A level that if I take these out, you

24:44

wouldn't be as amplified in my ears

24:47

as you are right now. And the

24:49

fact that they right next to you

24:51

and across from Austin, and

24:53

this notion that I need these things in my ear by

24:56

the way you talk about the thing for the blind, the sounds,

24:58

the oftimate soundstrack Sha aameless plug. Our

25:00

announcer for this show is my son,

25:03

Noah Nice. The bulk of his

25:05

current voice over career is audio

25:07

tracks for the Blood.

25:08

He is the guy that you hear going, They're walking

25:10

on the beach, dicks her hand. She

25:13

smiles. That's my son.

25:14

I'm very the My

25:16

favorite thing is when I'm accidentally because

25:19

I got now on my TV's at eight thousand buttons

25:21

the control stuff. Yeah, when I accidentally,

25:23

instead of hitting the captain, I

25:25

hit that and can't get it off right away and

25:28

it's hilarious.

25:28

You don't know what the.

25:29

Hell's going on.

25:30

I watched half you mentioned Squid Games. I'm

25:33

not kidding. I watched half of Squid Games, going

25:35

is this what's happening? Because

25:38

I know they messed with the people. Oh,

25:41

it's an audience participation thing. They're messing

25:43

with me talking to my brain.

25:45

You're not talking about the original squid game. You're talking about

25:47

the you.

25:48

Know, the Korean one, the one that was showing audio

25:51

descripts on.

25:51

Accidentally I didn't know, And

25:54

initially, yes, I didn't. I didn't think

25:56

to put the captioning on.

25:57

So as it came on, it

26:01

in English with that track on,

26:03

and I went, uh, this is a fascinating.

26:06

Choice, fascinating creative choice.

26:08

Thanks for coming in, Thanks for coming on.

26:09

And we promise you we will close caption and

26:12

subtitle which I don't even know. Close captioning,

26:14

I guess tells you everything that's going on subtitles

26:16

is just dialogue.

26:17

I see the research I put into this episode.

26:19

And Edwards, Edwards, if you go to why we

26:21

all need subtitles now, you've

26:23

got a good shot at seeing his h his work,

26:26

which is really really specific.

26:28

Be half on actors everywhere.

26:30

Dialogue first, forget the music, forget the sound efext

26:32

dialogue, dialogue, dig log make me sound good,

26:45

David, so tell us and by the way, we'll be subtitling

26:47

you everything. You say, what what do we need to

26:49

learn about tub titles.

26:50

That we did at this guy?

26:52

Well, the thing that bothers mean Number one

26:54

is why can't they universalize

26:57

where that subtitled button is?

27:00

Yes, right, like you're always hunting

27:02

for do I got to push down to the side?

27:05

Does it do I have to go through Chinese and

27:07

Mandarin and the English.

27:11

It's always say

27:13

also where they place it on the screen, because sometimes

27:15

it's below and then sometimes it's above and it's

27:17

blocked and stuff, which is the pain in the thank

27:20

you.

27:20

This basically got me thinking, you know, subtitles

27:23

and TVs and all of this digital

27:26

technology th HX and all this stuff.

27:28

It's supposed to make things better, yet technology

27:31

has made it worse. It's just we can't we

27:33

can't hear thinking now

27:35

you're talking my lane, right, So

27:37

what are some new cutting ise technologies.

27:40

That have made life go ahead?

27:42

Go ahead?

27:43

Of course, now we all know.

27:44

That calling anyone you know, people

27:46

don't answer, doctor's offices don't answer and whatever,

27:48

and you get these phone chain things.

27:51

Yes, yes, getting

27:53

the news. It used

27:55

to be you sit in front of a TV.

27:58

You turn it on to channel two fours,

28:00

and there was your news at six o'clock,

28:02

or you got it there.

28:03

The newspaper in the morning.

28:05

Right now, you have to get the news

28:07

from all over here, this, this or whatever. But

28:10

then you have to check it right to see if it's

28:13

fake news.

28:14

Gotta vet it.

28:15

Yes, sure, watching

28:17

a TV show, watching a TV

28:20

show?

28:20

What streaming service is it?

28:22

I got to get a new new thing.

28:23

Where's Hulu?

28:24

Is?

28:24

Who? You're?

28:27

So?

28:27

On my screen?

28:28

Where all the different possibilities where

28:30

the streaming are? I put it on that screen

28:32

and then on my remote there's a button that you

28:34

can push to talk, and I go where

28:37

is Yellowstone?

28:39

You know, it'll

28:41

tell you where it is and it'll take you to it. But

28:44

sometimes you have it. You have it

28:46

for free, right because you've already bought that app,

28:48

but it'll take you to a secondary one to go.

28:50

You can watch it for nine ninety nine and I go on

28:54

this channel trying to right, all

28:56

right, all right, yes, that's it. Yes, David, You're

28:58

right made it worse.

29:00

Thank you that. I'm not even going to get into

29:02

I'm just one word.

29:03

I'm gonna say it.

29:04

Voting, Ah

29:06

cook using a recipe?

29:08

Right, we used to have either mom

29:11

gave us a recipe or he had a book. Where

29:13

do you find the recipes on the Instagram

29:16

and you go to it,

29:18

but there's like thirty million ads and then

29:20

they don't have the ingredients.

29:21

Listen.

29:22

To get the ingredients list you have to click through the

29:24

thing, but there's there's a pay walled

29:26

up above it.

29:30

I'm just saying, I got it. We're not judging.

29:32

You know said voting.

29:34

You know what he said.

29:35

He lives in.

29:36

The rest of us are voting.

29:38

I have no trouble voting. Is you sent

29:40

it in?

29:42

Got to climb a thing, you got to go technology.

29:48

All right, d anything else? Take you off the rolls

29:50

here, take you off the rolls here?

29:52

Anything else?

29:54

Uh?

29:54

No, God, blessed

29:57

well, that was fantastic.

29:58

So my subtitle, what

30:00

would your subtitle this episode?

30:03

Really?

30:03

No really subtitles and then in parentheses

30:05

the subtitle would be fantastic.

30:09

I'm sorry, brother Bennis.

30:11

And gentlemen, now, who can hear me or

30:13

not.

30:15

Really.

30:16

Please listen now.

30:18

There's another episode. If Really No Really comes

30:20

to a close.

30:21

I know you're wondering, what are a bunch of the weirdest

30:23

sound effects ever used in a motion picture?

30:25

That answer in a moment, but first let's thank our

30:28

guests, Ed Vega and Austin Olivia

30:30

Kendrick. Ed's website is vox dot

30:32

com and you can follow him on Instagram where

30:34

he is at Ed from Queen's. Austin

30:37

is on Facebook where she is Austin Olivia Kendrick,

30:39

and on Instagram and TikTok she is at

30:42

aok dot wav. Find

30:45

all pertinent links in our show notes, our

30:48

little show hangs out on Instagram, TikTok

30:50

YouTube, and threads at Really No Really Podcast,

30:53

And of course you can share your thoughts and feedback

30:56

with us online at reallynoreally dot

30:58

com. If you have a really some

31:00

amazing factor story that boggles

31:02

your mind, share it with us, and if we

31:05

use it, we will send you a little gift.

31:07

Nothing life changing, obviously, but it's the

31:09

thought that counts.

31:11

Check out our full episodes on YouTube, hit that

31:13

subscribe button and take that bell so you're

31:15

updated when we release new videos.

31:17

And episodes, which we do each Tuesday.

31:19

So listen and follow us on the iHeartRadio

31:22

app, Apple Podcasts, or wherever

31:24

you get your podcasts. And

31:26

Now, what are five of the weirdest movie sound

31:28

effects you've likely heard?

31:30

Number One?

31:30

In Terminator two Judgment Day, the villain

31:33

is T one thousand slides through the bars

31:35

of.

31:35

A jailhouse door.

31:36

That wet slithering effect was actually the

31:38

sound of dog food sliding out of a tin can.

31:41

Number two. The punches in Fight Club were

31:43

not made the old fashioned way of hitting a phone book.

31:46

Instead, sound designer Ren Kleist put

31:48

walnuts inside the carcasses of chickens,

31:50

chuck them out to a parking garage, and beat

31:52

the.

31:53

Hell out of them. Number three.

31:54

If you're watching something alien or creepy

31:57

on film and hearing a weird, shimmery,

31:59

discordant soundscape, then you.

32:01

Are likely listening to a water phone.

32:03

The instrument is basically a small bowl

32:05

of water with various metal and glass

32:08

stems coming from it. The stems are played with a

32:10

violin bow and unearthly tones

32:12

and shrieks or forth. Take

32:14

a listen to Aliens or The Matrix or the X

32:16

Files and you'll get a symphony of them.

32:18

Number four.

32:19

If you were cringing at the sounds of breaking

32:21

bones in a quiet place, take comfort

32:23

and knowing that all that was sonically breaking

32:25

or stocks of celery and number five. In

32:28

the film, Final Destination for a racing

32:30

car skids out of control and crashes,

32:32

sending flying debris everywhere.

32:35

But instead of the standard noise of skidding,

32:37

the sound team blatantly inserts the

32:39

sounds of dolphins clicking and squeaking.

32:42

It's not blended or altered,

32:44

It's just dolphins, apparently

32:46

narrating a car crash. Really

32:49

no, Like, go watch the movie I'm being serious.

32:52

No really.

32:55

Really no,

32:58

really.

33:03

Really no really is a production of iHeartRadio

33:06

and Blaise Entertainment.

33:11

M hm