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I watch a lot of movies in tv on the train at home
The movies are working
But no matter where im watching
I find myself constantly doing this one thing
那就叫我一直玩儿
哎
那就叫我一直玩儿
It turns out
This isnt unusual we pull their youtube audience and about fifty ty percent of people said
Said they feel like they
They underunderstand didiooe in the things that they watch unless less theyre using self titles
But it feels like this hasnt always been the case
So to figure out
Always going on i made a call hi um name is aweto to live a kenjake
Im a professional dialogue editor for a film tvi basically perform audio surgery on actors
Words do you washingttons ii do
Actually i do a lot of the time
So why do you think that we all feel like we need subtitles
Now i got to asked this question
All the time
All the time
Its something that is they doesnt have a simple straiforward answer
Wer its very layred and very complex and after talking to awesome for most two hours
Its true
Its
Its very
Very lared in complex topic
But everything keeps pointing back to one main thing
Technology that got us from this ill get you my knowradge
No
What has happened to your life to this lets start with microphones
Im going to use this clip from singing in the rain
To show how makes used store use them
My
I talk ked it
The sound goes through the cable to the box
A man records
It on a big recorded wax
This scene illustrates some of the difficulties in intricacies of early sound recording mikes were big bulky tempermental and required creative solutions to be hidden
They were wired and recorded on a hard memory like wax and eventually tape
No matter how many actors were in a scene
All ound got recorded to one track
So performers had to be diligently focused in facing a certain angle
So that their words could be picked up otherwise you couldnt hear a thing
But technologies improves to the point
Where icicphphones dont pep performance as much anymore they become better smaller wireless
And we use more of them to ensure that performance is get captured what we typically are working with from production dialogue is two boom microphones
And then every actor has a base one lovely er microphone hidden somewhere on them
These shrinking mikes have given actors the flexibility to be more naturalistic in their performances
They no longer need to project that their words reach the mike
They can speak aoffully knowing that the tiny mike hint on their body will pick up what theyre say
And my personal favorite example of this performance shift is alec pltwin on thirty rock in a twenty living speech flash roast teena face has that he speaks so quietly that she cant hear him
When she standing next home
And then you play the feedback
And its there some out just listen to this whisperer off between him
And will are neft im not afraid of you
Yeah
We should be leto see out
Old shashaks out on the meeting
Natural wasnt missony is the best for intelligibility
Though take tom harty and actually that i personally love
But who famously is a mumbler sorsorry right i mean the mike picked that line up fine like we can definitely hear that hes talking
Hes saying something
But once that mumble gets recorded its onpiece dialogue at aa shoulder to make it as intelligble as possible
And that was a lot harder
When everything was analogue
Well you can pick the best stakes and physically spys them together
If some piece of dialogue was truly impossible ble underunderand
And then actors will come in
And we record those specific lines in a process called adr or automated dialogue replacement
Which you can see maralroriep do in this scene intepostcards from edge
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There is no money in the world
Further cause used yours that still gets done today
But adr also cost sts money
Because that
That you not only paying for the actors time
Youre paying for the engineers time
And then the editors time
So we try to do adr frankly as little as possible
And so a lot of her job is making words
Sound of better
The show im currently working on i remember red in the middle
Now then one word there was just a aloud metal claim
That i couldnt remove
So i had to go in
And i had to find an alternate take a bit that fit
And then i had to fit it to the movement of her mouth in that moment
And then push it in
And once shes done with it
It sent off to a mix er who works make sure the frequencies of this sound affects an music dont overlap the frefrequcies of the human voice
Something that only possible
Now that the world has moved away from tape and into digital recordings
That is a big challenge carving out those frequencies
Thats space amongst every other element of the mix for the dialogue to be able to punch through
And not be of muddied up by any other sounds that exist in that band of frequencies
But even for all that work
Twinof dialooe can still be hard to understand the kind of feeling
Has been if you want your movie to feels quite on quote cinematic
You have to have well to wall bombastic loud sound
A lot of people will ask
Like why it you just turn the dialogue up
Like just turn it up
And even if only it was that simple
Because a big thing that we want to preserve as a concept called dynamic range
The range between your quieter sound and your loud sound ound if you have your dialogue thats going to be at the same volume
As an explosion that imjust diafolfollow it
The explosion is not going to a feel as big
You need that contrast in volume
In order to give your ear a sense of scale
But the thing is you can only make something so loud before it gets the storwood
So if you want to create that widnnama range
You have no choice
But to push those quieter sounds
Lower instead of pushing the little louder sounds
Louder so explosions go up
And dialogue comes down
Which brings us to the chricopher
No no enouof at all within the other stand
What you got
Got all right
Nearly every film of his has been criticize for its hard to hear dialogue that essentially bigs for subtitles
But as his headlife explains
He likes it that way
According to an interview in a book called no no in variations
He said that he gets a lot of complaints
Even from other filmmakers
Who was say i just buy your film in the dialogue is invable the truth th it
It just mithe whole enchch aa of how we had chosen to mix it and in twenty seventeen interview with envy wire
He said we made the decision
A couple of films go that we werent going to mix films for substhundred theatres
And this is kind of the cruks of the matter
The content that we watch here and here
And here and it not mix for us primary and recording mixers
Mix for the widest interilound format that is available
Typically like bigorleased films
That is dont be utmost
Which has true three ty sound up to one hundred and twenty eight channels
The thing is if youre not at a movie
Thear that can showcase best best sound
Hollywood has to offer you can experience all of those channels
So after the movie is mix for the one hundred and twenty eight attmost tracks
Somebody has to create these separate version of the films audio
Where all those same sounds live on one or two or five tracks
This is called the downmixing
Down mixing as the process of taking that biggest mix and folding it down into four mats with lesser channels
Available to it so say at most down to seven point one or seven point one down to five point one or five point one down the stereo
Stereo down a mondel
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Unlike old tvs that were jgigantic and had a tony space for speakers
Tv stay are super thin like this one that i have my living room is about the same thickness as my iphone
So even though its outputting the same mono or stereo sound that in older tv might its still going to sound worse
Because you have to have tiny little speakers to fit into this tiny sleak form fact these time speakers are also usually on the back of the tv
So the downmix version of this moi that went from one hundred and twenty eight channels
Down to it just two is going sound even modier when its putting away from you and when youre watching on your phone or a laptop
Its generally not much better when you combine not great speakers
Naturalistic mumbly performance is dynamic range
Futuring bomb bastic sounds over dialogue and a flat mix
Its no wonder we have trouble hearing whats going on
And it seems like the industry knows this
Because the tv es are shipping with all kinds of settings built in like this intelligence move you can put on active voice amplification and hopes of making that dialogutrack come through just a little bit clear
But of course thats more amandague than it is solution
The way movies get mixed likely isnt going to river back to super pristine dialogue
So the solutions we have are one by better speakers and only go to fixres that have impacacable sound and buy better chopal
And try to just worry a little bit less about picking up every single word that get said or three just keep it somesomeon for people
Who are deaf for heart of hearing subtitles make movies and tv shows accessible
And this accessibility has just expanded in recent laws have been passed to ensure that movie teaters have at least ast few screreenings
We could caption pretmuch
Every streing ing service has standardized them spespeech a condition technology has made them accessible in pretty much
Every youtube video and techtok plus their super easy to talk le on and off
