Really now, really.

Really now, really.

Really no, really well, and welcome to really no Really with Jason Alexander and Peter Tilden, who hope you can hear and understand them when they say please subscribe. Really, have you noticed how often it's really hard to hear and understand the dialogue and video content.

Really no, really well, and welcome to really no Really with Jason Alexander and Peter Tilden, who hope you can hear and understand them when they say please subscribe. Really, have you noticed how often it's really hard to hear and understand the dialogue and video content.

It's not just you.

It's not just you.

Research shows that as many as sixty one percent of us are using subtitles consistently when watching video content, and content creators secretly admit that there's an actual problem. Really no really, Today we'll find out what that problem is and why despite cutting edge technologies, it's harder to clearly hear and understand what actors are saying in the shows and movies we watch. Will welcome film researcher and producer Ed Vega, who specializes in all things cinema, from film history to the nuts and bolts of filmmaking. And we also welcome dialogue sound editor Austin Olivia Kendrick and hopefully everyone will speak clearly.

Research shows that as many as sixty one percent of us are using subtitles consistently when watching video content, and content creators secretly admit that there's an actual problem. Really no really, Today we'll find out what that problem is and why despite cutting edge technologies, it's harder to clearly hear and understand what actors are saying in the shows and movies we watch. Will welcome film researcher and producer Ed Vega, who specializes in all things cinema, from film history to the nuts and bolts of filmmaking. And we also welcome dialogue sound editor Austin Olivia Kendrick and hopefully everyone will speak clearly.

Now here's Jason and Peter.

Now here's Jason and Peter.

Now this is an episode on subtitles, because everywhere I look there's articles about why is everybody using subtitles?

Now this is an episode on subtitles, because everywhere I look there's articles about why is everybody using subtitles?

You told me, what's the percentage of people that actually it depends on the demographic, but in some as high sixty one percent.

You told me, what's the percentage of people that actually it depends on the demographic, but in some as high sixty one percent.

And we'll talk to our guests about that. Millennials different than gen zs are different.

And we'll talk to our guests about that. Millennials different than gen zs are different.

Recearching online content and television whatever brought in.

Recearching online content and television whatever brought in.

I saw this tape that Edward Vegeman, who is a Vox Video is in the Vox Video team, video producer and he does cinem et cetera.

I saw this tape that Edward Vegeman, who is a Vox Video is in the Vox Video team, video producer and he does cinem et cetera.

It was so good.

It was so good.

And then he had on our other guests, Austin Olivia Kendrick, who's the sound editor.

And then he had on our other guests, Austin Olivia Kendrick, who's the sound editor.

I figured, you know what, I'm tired of doing all the research. Yeah, he's so good. Let's just get him on and he'll give us day.

I figured, you know what, I'm tired of doing all the research. Yeah, he's so good. Let's just get him on and he'll give us day.

Yeah, got you.

Yeah, got you.

Having come, of course, thank you for having us man, Thank you so much.

Having come, of course, thank you for having us man, Thank you so much.

Let's talk about this. The statistics are out of control. And by the way, it's again it's all over the place, depending on what publication you read, but it is it's growing, becoming more prevalent, and it is in some demographics sixty percent and going up.

Let's talk about this. The statistics are out of control. And by the way, it's again it's all over the place, depending on what publication you read, but it is it's growing, becoming more prevalent, and it is in some demographics sixty percent and going up.

So talk to us about what's going on. What the going is this happening?

So talk to us about what's going on. What the going is this happening?

You guys, I mean, Edward, I will let you kind of take the lead on where do you't even want to start?

You guys, I mean, Edward, I will let you kind of take the lead on where do you't even want to start?

Because the answer to this is very layered.

Because the answer to this is very layered.

It's not one simple like if we just fix this, the whole problem will go away.

It's not one simple like if we just fix this, the whole problem will go away.

So, Edward, where do you want to start?

So, Edward, where do you want to start?

I think a good place to maybe start, just since you guys were so kind and generous about the video that I made, is maybe with that, because this is a question that I had and a lot of my friends had for a long time, and there wasn't really anything about it, Like when I before I made that video, I feel like, now there's been a lot of articles, right, But truly, there was one article that I was able to find, and it was a bunch of people who wanted to stay anonymous because they were worried that if they said anything bad about things that they had worked on they like. So when I pitched this video, I was like, yeah, we might not be able to get anybody because you know, it's like a very sensitive topic. And so I was just going on TikTok one and I had watched some of Austin's other videos, but I was like, oh man, she's perfect, she's like talking on camera, so I should reach out to her. But yeah, everybody, it was funny when I first talked to Austin, asked her if she used subtitles because I don't. I prefer not to. I do, everybody in my family does, and Austin does.

I think a good place to maybe start, just since you guys were so kind and generous about the video that I made, is maybe with that, because this is a question that I had and a lot of my friends had for a long time, and there wasn't really anything about it, Like when I before I made that video, I feel like, now there's been a lot of articles, right, But truly, there was one article that I was able to find, and it was a bunch of people who wanted to stay anonymous because they were worried that if they said anything bad about things that they had worked on they like. So when I pitched this video, I was like, yeah, we might not be able to get anybody because you know, it's like a very sensitive topic. And so I was just going on TikTok one and I had watched some of Austin's other videos, but I was like, oh man, she's perfect, she's like talking on camera, so I should reach out to her. But yeah, everybody, it was funny when I first talked to Austin, asked her if she used subtitles because I don't. I prefer not to. I do, everybody in my family does, and Austin does.

Yeah, Like we were just almost joking about, like you have to be able to turn off your work brain. For me, I go to work and I spend the whole day dissecting people's words, the dialogue, and so it helps me be able to disengage that part of my brain and just genuinely enjoy what I'm watching, you know, instead of like going in and like criticizing it as an editor.

Yeah, Like we were just almost joking about, like you have to be able to turn off your work brain. For me, I go to work and I spend the whole day dissecting people's words, the dialogue, and so it helps me be able to disengage that part of my brain and just genuinely enjoy what I'm watching, you know, instead of like going in and like criticizing it as an editor.

So I totally understand that, given what you do for a profession. The reason I tend to unless it's a foreign language, and I do prefer to listen to the organic a great and watch a subtitle.

So I totally understand that, given what you do for a profession. The reason I tend to unless it's a foreign language, and I do prefer to listen to the organic a great and watch a subtitle.

But other than that situation, I don't use subtitles because.

But other than that situation, I don't use subtitles because.

Maybe meet reader, but it pulls my attention down to that bottom part of the screen and I'm missing the visual.

Maybe meet reader, but it pulls my attention down to that bottom part of the screen and I'm missing the visual.

I'm missing the rest of the performance.

I'm missing the rest of the performance.

Agree, I find it so distracted.

Agree, I find it so distracted.

Say that it's interesting you say that, But what I found is, even with good hearing, you're missing stuff and I'm reading going Wait a minute, I didn't know that they Wait there's comments in the background. Wait, there's that. I'm missing eight of the stuff. So I get so used to that that I feel if I don't use it, I'm going to miss out on something.

Say that it's interesting you say that, But what I found is, even with good hearing, you're missing stuff and I'm reading going Wait a minute, I didn't know that they Wait there's comments in the background. Wait, there's that. I'm missing eight of the stuff. So I get so used to that that I feel if I don't use it, I'm going to miss out on something.

Start.

Start.

Yeah, and I have the exact opposite.

Yeah, and I have the exact opposite.

I would rather and maybe it's because I'm an actor and I'm so performance oriented. I'd rather watch and take in what the director and the the actors are are creating and go, I'll get the sound I don't need, you know. So I'm surprised that people who don't do what you guys do for a living and who are at.

I would rather and maybe it's because I'm an actor and I'm so performance oriented. I'd rather watch and take in what the director and the the actors are are creating and go, I'll get the sound I don't need, you know. So I'm surprised that people who don't do what you guys do for a living and who are at.

Double you know, aren't checking their Twitter feed.

Double you know, aren't checking their Twitter feed.

Yeah, I just I.

Yeah, I just I.

Guess I don't get it in many things that about, you know, what is happening in culture that I don't get, but this is absolutely one of them.

Guess I don't get it in many things that about, you know, what is happening in culture that I don't get, but this is absolutely one of them.

It feels like a diminished experience.

It feels like a diminished experience.

So talk about the generational thoughts, start getting into some layers, because it's really interesting.

So talk about the generational thoughts, start getting into some layers, because it's really interesting.

Yeah.

Yeah.

I feel like a big kind of route of it has been the advancement of technology, both in terms of what we can do when recording actors as well as on the back end on the editing, on the mixing on the you know, delivery to movies theaters, down to streaming and stuff like that. It's it's all kind of expanded in a way that has made it a much harder for us to control, like the the level of dialogue to the rest of the soundscape.

I feel like a big kind of route of it has been the advancement of technology, both in terms of what we can do when recording actors as well as on the back end on the editing, on the mixing on the you know, delivery to movies theaters, down to streaming and stuff like that. It's it's all kind of expanded in a way that has made it a much harder for us to control, like the the level of dialogue to the rest of the soundscape.

You've only been doing it a couple of years, but I know you're sensitive to it. Is it changed about how they're making people, how actors are enunciating, and how much background noise that's acceptable when they're filming that they anticipate you can take out because of tech.

You've only been doing it a couple of years, but I know you're sensitive to it. Is it changed about how they're making people, how actors are enunciating, and how much background noise that's acceptable when they're filming that they anticipate you can take out because of tech.

Well, Edward, where do you want to start with that? How far back do we want to go there yet?

Well, Edward, where do you want to start with that? How far back do we want to go there yet?

Yeah, that's a good question.

Yeah, that's a good question.

I think maybe performance is a good place to start, since you guys are asking about how technology has sort of changed, because I think that's maybe the most obvious shift that you can see, like the you know, if you watch movies from the forties, they're obviously speaking and performing in a very different manner in which people are speaking in performing today.

I think maybe performance is a good place to start, since you guys are asking about how technology has sort of changed, because I think that's maybe the most obvious shift that you can see, like the you know, if you watch movies from the forties, they're obviously speaking and performing in a very different manner in which people are speaking in performing today.

Yeah, back then, the only option for really micing actors was having them on a closed sound stage. MIC's above their head, They're planted in one spot, and they were also came much more often from a theatrical background. They need to stand, they need to project into the microphone, right, and that gives not only a cleaner capture of their performance, but also because of that theatrical training, much more enunciation of their words.

Yeah, back then, the only option for really micing actors was having them on a closed sound stage. MIC's above their head, They're planted in one spot, and they were also came much more often from a theatrical background. They need to stand, they need to project into the microphone, right, and that gives not only a cleaner capture of their performance, but also because of that theatrical training, much more enunciation of their words.

They're much clearer.

They're much clearer.

You know, the Transatlantic accent was a very big thing, and that kind of that, that cadence really helped with intelligibility.

You know, the Transatlantic accent was a very big thing, and that kind of that, that cadence really helped with intelligibility.

Absolutely.

Absolutely.

Wow.

Wow.

You know, I was telling Peter about this. I directed a Broadway show this summer.

You know, I was telling Peter about this. I directed a Broadway show this summer.

Now, I've appeared on Broadway many times in a mix of musicals and plays. In a musical, of course, I was always miked. Even back in nineteen eighty one there was there was live mixing going on, and any actor that's saying had to be mixed to the orchestra.

Now, I've appeared on Broadway many times in a mix of musicals and plays. In a musical, of course, I was always miked. Even back in nineteen eighty one there was there was live mixing going on, and any actor that's saying had to be mixed to the orchestra.

Yeah, but never for plays.

Yeah, but never for plays.

This summer, I hire my sound designer for the show and he goes and we're in the smallest theater on Broadway.

This summer, I hire my sound designer for the show and he goes and we're in the smallest theater on Broadway.

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

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

I did a play in theater that had almost two thousand seats. I wasn't miked. He says, what will be miking the actors? I go miking the actors. This is a play, not and I sort of held my ground and said, no, we're not going to mic the actors. We're not going to do that.

I did a play in theater that had almost two thousand seats. I wasn't miked. He says, what will be miking the actors? I go miking the actors. This is a play, not and I sort of held my ground and said, no, we're not going to mic the actors. We're not going to do that.

We got into tech and I went, I can't hear them any I.

We got into tech and I went, I can't hear them any I.

Can't hear them, and he said, more importantly, the audience will hate it. The audience is no longer used to leaning into the sound. They want it delivered to them the way they would hear it if they had headphones. And we wound up for the first time in my career putting microphones on actors for a play in a relatively small theater, so I hear what you're saying about. As I watch film and television these days, so many scenes that pass for kind of emotion.

Can't hear them, and he said, more importantly, the audience will hate it. The audience is no longer used to leaning into the sound. They want it delivered to them the way they would hear it if they had headphones. And we wound up for the first time in my career putting microphones on actors for a play in a relatively small theater, so I hear what you're saying about. As I watch film and television these days, so many scenes that pass for kind of emotion.

Or intensity, it's really because people are.

Or intensity, it's really because people are.

Just talking to me.

Just talking to me.

And I'm going, if this were in a real environment, the person across the table couldn't hear you, and it makes me crazy. So what does it do on to you, guys, when you're having actors who literally are barely talking above a whisper in a live environment.

And I'm going, if this were in a real environment, the person across the table couldn't hear you, and it makes me crazy. So what does it do on to you, guys, when you're having actors who literally are barely talking above a whisper in a live environment.

Well as someone who cuts dialogue in adr like that is my primary focus as a sound editor. I there's something so frustrating about There's a lot that I can do. I can remove clicks, I can remove pops. I can stitch together to entirely different takes that have entirely different background noises. I can I can remove background noise. I can do a lot. However, if an actor does not enunciate their words, there is nothing that I can do to improve that, even if you brought them back into re record for ADR. The reality is matching it up to matching that sound, up to the movement of their lips on the screen. If their lips are barely moving trying to do ADR, where there's suddenly over enunciating these words, it isn't going to match right. So there's that's where an area where it is very frustratingly out of my hands.

Well as someone who cuts dialogue in adr like that is my primary focus as a sound editor. I there's something so frustrating about There's a lot that I can do. I can remove clicks, I can remove pops. I can stitch together to entirely different takes that have entirely different background noises. I can I can remove background noise. I can do a lot. However, if an actor does not enunciate their words, there is nothing that I can do to improve that, even if you brought them back into re record for ADR. The reality is matching it up to matching that sound, up to the movement of their lips on the screen. If their lips are barely moving trying to do ADR, where there's suddenly over enunciating these words, it isn't going to match right. So there's that's where an area where it is very frustratingly out of my hands.

Wow as an audience member, I mean, I feel like it's really frustrating, and I'm just like Jesus Christ, like I wish I knew what they were saying. And in the video that I made. I have this example of Pete Davidson and King of Staten Island, and I would like to formally apologize to Pete the because I think he's given a really good performance. It's not like anything about that. But I was watching it. It came out during lockdown, and we rewinded it like three times because like the climax of the movie is him giving this very emotional, heartfelt and he's being honest with his mom about how he misses his dad, but he says it so wietly, and I'm like why why anyway, So it is very frustrating and I do not ever want to watch the subtitles, but in moments like that, like I understand why people do. And this is one thing that Austin sort of talks about in the video, that like when you lose the dialogue, you're losing the script.

Wow as an audience member, I mean, I feel like it's really frustrating, and I'm just like Jesus Christ, like I wish I knew what they were saying. And in the video that I made. I have this example of Pete Davidson and King of Staten Island, and I would like to formally apologize to Pete the because I think he's given a really good performance. It's not like anything about that. But I was watching it. It came out during lockdown, and we rewinded it like three times because like the climax of the movie is him giving this very emotional, heartfelt and he's being honest with his mom about how he misses his dad, but he says it so wietly, and I'm like why why anyway, So it is very frustrating and I do not ever want to watch the subtitles, but in moments like that, like I understand why people do. And this is one thing that Austin sort of talks about in the video, that like when you lose the dialogue, you're losing the script.

And when you lose the.

And when you lose the.

Script like you have it was a story.

Script like you have it was a story.

Yeah, you know that rise of that more naturalistic performance like you were talking about Jason, these actors that. But I feel like that has come from you know, we were talking about way back in the sound stage days forties, where it's like that mike was the only option, where as in the seventies suddenly it developed with like oh no, now we can take recording systems mobile. They're mobile, now we can take them anywhere. The MIC's have gotten smaller and smaller, we can hide lobs lovelier microphones anywhere, and so I feel like that kind of rise and development in recording technology has kind of led to that rise in more naturalistic performances.

Yeah, you know that rise of that more naturalistic performance like you were talking about Jason, these actors that. But I feel like that has come from you know, we were talking about way back in the sound stage days forties, where it's like that mike was the only option, where as in the seventies suddenly it developed with like oh no, now we can take recording systems mobile. They're mobile, now we can take them anywhere. The MIC's have gotten smaller and smaller, we can hide lobs lovelier microphones anywhere, and so I feel like that kind of rise and development in recording technology has kind of led to that rise in more naturalistic performances.

It's a thing.

It's a thing.

It allows them to do it. Well, let's talk about technology. Then here's one of the examples I saw and I remember this in sixties seventies you got a crappy TV with a with a crappy speaker and you could hear everything really clearly. Today we have televisions and is this correct? I read it? So the speakers are thins, they have to be really thin, and they face backwards.

It allows them to do it. Well, let's talk about technology. Then here's one of the examples I saw and I remember this in sixties seventies you got a crappy TV with a with a crappy speaker and you could hear everything really clearly. Today we have televisions and is this correct? I read it? So the speakers are thins, they have to be really thin, and they face backwards.

In a lot of seff, yes, they do.

In a lot of seff, yes, they do.

Okay, why would a company say, you know what, people are sitting there, let's project that way and really no.

Okay, why would a company say, you know what, people are sitting there, let's project that way and really no.

Really no, really I know.

Really no, really I know.

But why is this a sound bar? Is this sell you to the sound bars? Everybody goes it sucks. I can't hear it.

But why is this a sound bar? Is this sell you to the sound bars? Everybody goes it sucks. I can't hear it.

I mean like, I mean like I'm not going to say a note of that, but I think it's something where when it comes to especially television stuff like that, they're selling.

I mean like, I mean like I'm not going to say a note of that, but I think it's something where when it comes to especially television stuff like that, they're selling.

You on like ooh for hey, nice, nice Chris.

You on like ooh for hey, nice, nice Chris.

But sound is secondary and you don't realize how sound is secondary until you sit down with that monitor and you're listening back and you're going, oh wow, I can't hear anything, you.

But sound is secondary and you don't realize how sound is secondary until you sit down with that monitor and you're listening back and you're going, oh wow, I can't hear anything, you.

Know, facing backward.

Know, facing backward.

We have a thing in our house. Explain this to me, please, if you can. The dialogue I can't hear. So you crank it up and then all of a sudden there's a bit of soundtrack.

We have a thing in our house. Explain this to me, please, if you can. The dialogue I can't hear. So you crank it up and then all of a sudden there's a bit of soundtrack.

Music and all head blows off. You go to commercial and there's screaming.

Music and all head blows off. You go to commercial and there's screaming.

Yeah, we should ask the editor.

Yeah, we should ask the editor.

I think, rather than you want this one right, how do you what is happening?

I think, rather than you want this one right, how do you what is happening?

What's happening from set to editing there?

What's happening from set to editing there?

Editor? I think, rather than you want this one right, how do what is happening?

Editor? I think, rather than you want this one right, how do what is happening?

What's happening from set to editing there?

What's happening from set to editing there?

Well, I feel like again it comes back to that kind of technology growing so fast? Is that back in the day you're talking about, Like back when television you know, crappy speakers, you can still hear everything. Back then, it was just you had one channel, you had one mono channel that everything went into. Nowadays, for TV, I mean, it's not even a standard to mix in stereo. It's standard to mix in usually five point one surround. I think the only things that really get mixed into stereo nowadays are kind of like the traditional multi camera sitcoms, which will you know, get mixed into a single day. So five point one is now the standard. Not everyone has a five point one setup.

Well, I feel like again it comes back to that kind of technology growing so fast? Is that back in the day you're talking about, Like back when television you know, crappy speakers, you can still hear everything. Back then, it was just you had one channel, you had one mono channel that everything went into. Nowadays, for TV, I mean, it's not even a standard to mix in stereo. It's standard to mix in usually five point one surround. I think the only things that really get mixed into stereo nowadays are kind of like the traditional multi camera sitcoms, which will you know, get mixed into a single day. So five point one is now the standard. Not everyone has a five point one setup.

When you say five.

When you say five.

Point one just for ignorant people like me, is that is that like sort of cinema surround sound kind of yeah?

Point one just for ignorant people like me, is that is that like sort of cinema surround sound kind of yeah?

Okay, yeah, so and.

Okay, yeah, so and.

So that's kind of the standard now. And we when it comes to mixing stuff, once I hand my my edit, my clean, pretty edit of the dialogue over to be integrated with everything else, that is what they're focusing on. That is what we're paid to do they and it is a very meticulous thing, like I will sit and I will watch mixers go over the five seconds for like minutes at a time to get that balance just right. And we spend days on that. And then when it's all done and finished, when it comes time to like, okay, what about stereo mixes?

So that's kind of the standard now. And we when it comes to mixing stuff, once I hand my my edit, my clean, pretty edit of the dialogue over to be integrated with everything else, that is what they're focusing on. That is what we're paid to do they and it is a very meticulous thing, like I will sit and I will watch mixers go over the five seconds for like minutes at a time to get that balance just right. And we spend days on that. And then when it's all done and finished, when it comes time to like, okay, what about stereo mixes?

What about mono mixes?

What about mono mixes?

They don't want to pay us for that. You know, we aren't given that same amount of time. We're giving them the same amount of time to go back through the episode and do a stereo mix. That type of nuance, and this is where Edward brought it up first. The concept of down mixing comes from where you take the format with the highest number of channels available and you fold it down into formats with lesser channels.

They don't want to pay us for that. You know, we aren't given that same amount of time. We're giving them the same amount of time to go back through the episode and do a stereo mix. That type of nuance, and this is where Edward brought it up first. The concept of down mixing comes from where you take the format with the highest number of channels available and you fold it down into formats with lesser channels.

So to understand you, if you don't have five point one on your okay, fiss them, it comes out model that comes out not as good.

So to understand you, if you don't have five point one on your okay, fiss them, it comes out model that comes out not as good.

Correct? Is that the problem?

Correct? Is that the problem?

I believe?

I believe?

And by the way, five point one is now the standard for television, the highest standard, and actually this will sometimes be used for those bigger things like the Stranger Things, Star Wars.

And by the way, five point one is now the standard for television, the highest standard, and actually this will sometimes be used for those bigger things like the Stranger Things, Star Wars.

Stuff.

Stuff.

Is a format called Dolby at Most, which can have up to one hundred and tw twenty eight channels going at once, which is insane to think about that. That system is absolutely when you see it in the right format, it's incredible.

Is a format called Dolby at Most, which can have up to one hundred and tw twenty eight channels going at once, which is insane to think about that. That system is absolutely when you see it in the right format, it's incredible.

But then you have to spend one hundred million dollars in your bedroom to be able to hear Dully at Most.

But then you have to spend one hundred million dollars in your bedroom to be able to hear Dully at Most.

Instead.

Instead.

I'm reading subtitles because it's it's at the peak. But I'm like it, look, that's that's pretty insane.

I'm reading subtitles because it's it's at the peak. But I'm like it, look, that's that's pretty insane.

Correct, Yeah, And especially because when you're given that amount of almost like playspace, you know, of one hundred and twenty eight channels. Of course you're going to want to be pushing out a lot more sound. That's a lot more space for you to color in. However, when it comes time to fold down all of that sound into five five point one channels, two channels, one channel, then things can get mndy, especially when we are taking into account the concept of dynamic range, which is something that Edward touches on upon the.

Correct, Yeah, And especially because when you're given that amount of almost like playspace, you know, of one hundred and twenty eight channels. Of course you're going to want to be pushing out a lot more sound. That's a lot more space for you to color in. However, when it comes time to fold down all of that sound into five five point one channels, two channels, one channel, then things can get mndy, especially when we are taking into account the concept of dynamic range, which is something that Edward touches on upon the.

In the video.

In the video.

Edward, Yeah, one thing we talked about in the video is the concept of like, if you have a explosion, you want to feel that, you know, like you want it to be impactful, and so that has to be loud. But there is only a certain level of loud that you can reach, like there's a ceiling for it, whereas there isn't as as much of a floor for how low something can be. And so I'm sure you guys know making a podcast, like if I were to start screaming right now, everything would clip and it'd be unusable audio.

Edward, Yeah, one thing we talked about in the video is the concept of like, if you have a explosion, you want to feel that, you know, like you want it to be impactful, and so that has to be loud. But there is only a certain level of loud that you can reach, like there's a ceiling for it, whereas there isn't as as much of a floor for how low something can be. And so I'm sure you guys know making a podcast, like if I were to start screaming right now, everything would clip and it'd be unusable audio.

You don't want that.

You don't want that.

If the explosion is going to be your loudest thing, then the dialogue simply can't be. And if you want the explosion to be impactful, then you can't bring that up because it will clip. So the dialogue and seid has to come down to create enough space where it feels like the explosion is bigger than contrast.

If the explosion is going to be your loudest thing, then the dialogue simply can't be. And if you want the explosion to be impactful, then you can't bring that up because it will clip. So the dialogue and seid has to come down to create enough space where it feels like the explosion is bigger than contrast.

The dynamic range is pretty much the range between the loudest sound in your mix and the quiet as so the.

The dynamic range is pretty much the range between the loudest sound in your mix and the quiet as so the.

Action movies would be the biggest challenge because they're blowing up prep all through the movie and then you got whoever Stallan or whatever mumbling and talking. There's got to be down here lower than normal in a movie where you don't have explosions.

Action movies would be the biggest challenge because they're blowing up prep all through the movie and then you got whoever Stallan or whatever mumbling and talking. There's got to be down here lower than normal in a movie where you don't have explosions.

Yes, yeah, and you even have to think about dynamic range when it even comes to dialogue where it's like someone who's yelling, it should sound louder than someone who's whispering, you know, So there's.

Yes, yeah, and you even have to think about dynamic range when it even comes to dialogue where it's like someone who's yelling, it should sound louder than someone who's whispering, you know, So there's.

Even that type of nuance even in just that little area.

Even that type of nuance even in just that little area.

You know, this made me wonder maybe, you know, generally I'm not a big AI fan, but is there any talk of adding AI technology to our listening devices, our televisions and whatnot so that there is a sort of a constant adjustment going on so that the listener or viewer can get an appreciable amount, still get these effects that you're going for, but still have an appreciable amount of sound so that you wouldn't have to go to a subtitle sitch.

You know, this made me wonder maybe, you know, generally I'm not a big AI fan, but is there any talk of adding AI technology to our listening devices, our televisions and whatnot so that there is a sort of a constant adjustment going on so that the listener or viewer can get an appreciable amount, still get these effects that you're going for, but still have an appreciable amount of sound so that you wouldn't have to go to a subtitle sitch.

I believe Amazon Prime had announced something similar something you can to what you're describing. I don't know if they've actually implemented it yet, but that's kind of also a big issue is that there is no standardation amongst all of these streaming platforms, you know, in terms of you know, sometimes we hand them the five point one mix and they have their own algorithm that will process and you know, will pump out a stereo mix themselves. You know, sometimes they have us do it. You know, it's something where there there is no standardization in terms of how any of these kind of mixed downs are handled.

I believe Amazon Prime had announced something similar something you can to what you're describing. I don't know if they've actually implemented it yet, but that's kind of also a big issue is that there is no standardation amongst all of these streaming platforms, you know, in terms of you know, sometimes we hand them the five point one mix and they have their own algorithm that will process and you know, will pump out a stereo mix themselves. You know, sometimes they have us do it. You know, it's something where there there is no standardization in terms of how any of these kind of mixed downs are handled.

Money it is, it is. It is very much a mess.

Money it is, it is. It is very much a mess.

So I definitely think that that's a part of it. But I do have two things just before on your question about if there's any AI stuff that can make things come through care. We touch on it very briefly in the video, but there are TVs where you can like switch the modes where it's like voice clarity mode. So while there is that stuff, I personally don't know if that's like the right way to move forward.

So I definitely think that that's a part of it. But I do have two things just before on your question about if there's any AI stuff that can make things come through care. We touch on it very briefly in the video, but there are TVs where you can like switch the modes where it's like voice clarity mode. So while there is that stuff, I personally don't know if that's like the right way to move forward.

About it.

About it.

The other thing I'll say is that there is an article that came out after I made my video from the Atlantic that talks a little bit about loudness standards. And in the pre streaming days, there was a standard whereas based off of the dialogue and how loud that was in relation to everything else. And when it transitioned into streaming, things became a lot different where it was based off the overall loudness. You know, the standards that are being used aren't specific to the dialogue. It's you know, just the overall loudness.

The other thing I'll say is that there is an article that came out after I made my video from the Atlantic that talks a little bit about loudness standards. And in the pre streaming days, there was a standard whereas based off of the dialogue and how loud that was in relation to everything else. And when it transitioned into streaming, things became a lot different where it was based off the overall loudness. You know, the standards that are being used aren't specific to the dialogue. It's you know, just the overall loudness.

So it's amazing because it's still the wild Western as far along as we are technologically.

So it's amazing because it's still the wild Western as far along as we are technologically.

Yeah, it is the wild wild West at.

Yeah, it is the wild wild West at.

This one point.

This one point.

And I don't even think we could implement something like you know, the way that George Lucas implemented THHX patch in the eight back in the eighties, which is just a certification for the playback of sound, which you know, he was able to widely implement and push the entire industry to adopt. Suddenly by pretty much holding Return of the Jedi hostage. Oh you you want the copy of of Return of the Jedi.

And I don't even think we could implement something like you know, the way that George Lucas implemented THHX patch in the eight back in the eighties, which is just a certification for the playback of sound, which you know, he was able to widely implement and push the entire industry to adopt. Suddenly by pretty much holding Return of the Jedi hostage. Oh you you want the copy of of Return of the Jedi.

Cool, You have to THHX.

Cool, You have to THHX.

You know, and I'm not even sure, given how kind of things are spread out amongst all these you know, the market looks a lot different.

You know, and I'm not even sure, given how kind of things are spread out amongst all these you know, the market looks a lot different.

I'm not sure that we could.

I'm not sure that we could.

Have that type of mass push across the industry.

Have that type of mass push across the industry.

Again. I would like to see it.

Again. I would like to see it.

I would love to see something like TCHX reintroduced, because there is something so frustrating about working very hard on the dialogue but also across this entire as sound people were trying to create. We're storytellers, you know, on this front, and to work so hard and to see all of my colleagues work and my work and you know, kind of all of that fall apart.

I would love to see something like TCHX reintroduced, because there is something so frustrating about working very hard on the dialogue but also across this entire as sound people were trying to create. We're storytellers, you know, on this front, and to work so hard and to see all of my colleagues work and my work and you know, kind of all of that fall apart.

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

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

You mix stuff and you go home. Do you ever watch what you mixed? And you go, holy crap.

You mix stuff and you go home. Do you ever watch what you mixed? And you go, holy crap.

It's hard to it's hard to listen back to stuff I've worked on because I always think about stuff that I could do better.

It's hard to it's hard to listen back to stuff I've worked on because I always think about stuff that I could do better.

Really, yep, let me tell you.

Really, yep, let me tell you.

There is nothing I've been in that was filmed or I don't go that's what they did?

There is nothing I've been in that was filmed or I don't go that's what they did?

Yeah?

Yeah?

Everything?

Everything?

Yeah, yeah, I mean on the Seinfeld Show, we used to shoot our episodes significantly longer than they could air, And one of the philosophies that Jerry and Larry had was, when we get to the edit, we'll use the stuff we like the most, and you know, anything that doesn't make the grade we'll get rid of.

Yeah, yeah, I mean on the Seinfeld Show, we used to shoot our episodes significantly longer than they could air, And one of the philosophies that Jerry and Larry had was, when we get to the edit, we'll use the stuff we like the most, and you know, anything that doesn't make the grade we'll get rid of.

But you know, I remember watching watching an episode where in it's on Tell.

But you know, I remember watching watching an episode where in it's on Tell.

When I saw it on the air, I was moving around Jerry's apartment with no discernible way of having gotten there because they had taken.

When I saw it on the air, I was moving around Jerry's apartment with no discernible way of having gotten there because they had taken.

Out two lines here and two lines.

Out two lines here and two lines.

Here where I had done the move, and I went, oh my god, I can't watch this anymore.

Here where I had done the move, and I went, oh my god, I can't watch this anymore.

You know, it's actors get or maybe it's just me. It could be just me.

You know, it's actors get or maybe it's just me. It could be just me.

I get a little precious of If you've given me a six line speech and you're going to cut line two and four, it's.

I get a little precious of If you've given me a six line speech and you're going to cut line two and four, it's.

No longer anything that I did.

No longer anything that I did.

It may be better, it could be worse, it could be the same, but my experience of it is doesn't not what I did. But I was going to go back one and just when we talk about the subtitle, I think this was interesting to me because the whole premise of our conversation today is about the use of subtitles. But I was reading the there was a European commissioned survey that noted that eighty percent of people in non English speaking countries for first subtitle, only four percent of people in the United States preferred they'd rather hear the dub.

It may be better, it could be worse, it could be the same, but my experience of it is doesn't not what I did. But I was going to go back one and just when we talk about the subtitle, I think this was interesting to me because the whole premise of our conversation today is about the use of subtitles. But I was reading the there was a European commissioned survey that noted that eighty percent of people in non English speaking countries for first subtitle, only four percent of people in the United States preferred they'd rather hear the dub.

They'd rather hear the other actor because they don't know.

They'd rather hear the other actor because they don't know.

I'm not that now.

I'm not that now.

I as much as I don't like subtitling, I'm not that. But I also thought, look at US America, too lazy to read that. We don't want to we don't have to work for it, we don't want to have to work.

I as much as I don't like subtitling, I'm not that. But I also thought, look at US America, too lazy to read that. We don't want to we don't have to work for it, we don't want to have to work.

I'd rather not see the original performance.

I'd rather not see the original performance.

I hate that, Edward. What else did you find? I know Adhd plays in. There's a lot to plays into this.

I hate that, Edward. What else did you find? I know Adhd plays in. There's a lot to plays into this.

Too, man, I mean, so much stuff, A lot of it is in the video.

Too, man, I mean, so much stuff, A lot of it is in the video.

One thing that we don't get into too much, but I think is very important to note is that, like, on one hand, it's kind of not for most of us. You know, like a lot of us are using subtitles because we want to have a richer understanding of what we're watching and not feel like we're missing anything. But there is a large majority of people that need it because you know, they're hard of hearing, or their death.

One thing that we don't get into too much, but I think is very important to note is that, like, on one hand, it's kind of not for most of us. You know, like a lot of us are using subtitles because we want to have a richer understanding of what we're watching and not feel like we're missing anything. But there is a large majority of people that need it because you know, they're hard of hearing, or their death.

Even have a sensory processing you know, yeah.

Even have a sensory processing you know, yeah.

Right, it has made things a lot more accessible.

Right, it has made things a lot more accessible.

You know, I was listening to a podcast earlier that was saying that Netflix, when they first transitioned from DVD to having a streaming platform, very few of their shows had accurate subtitles, and now it's it's most of them. And you know, I think that that stuff like sort of gets lost in the conversation of us being like, I can't hear Tom when he says stuff, which again you.

You know, I was listening to a podcast earlier that was saying that Netflix, when they first transitioned from DVD to having a streaming platform, very few of their shows had accurate subtitles, and now it's it's most of them. And you know, I think that that stuff like sort of gets lost in the conversation of us being like, I can't hear Tom when he says stuff, which again you.

Could you could also be We had Kevin Pollock on who taught us how to do Jason Statham. The secret is to take six words do you know what I mean? And you reduce them down to just that's your job.

Could you could also be We had Kevin Pollock on who taught us how to do Jason Statham. The secret is to take six words do you know what I mean? And you reduce them down to just that's your job.

That is your job. Makes somebody has to type in mean.

That is your job. Makes somebody has to type in mean.

But no, I'm one hundred percent on the same page as Edward in the way of I don't mind the rise of subtitles, in the way of that means, are the stories that we're trying to tell are more accessible to more people? You know, things like subtitles and even audio descriptions. It just knowing that we can still have that story connect with a greater audience. That's ultimately you know, and I mean there are legitimate frustrations in you know, be in what we're talking about, but ultimately the fact that more people are able to interact with the story.

But no, I'm one hundred percent on the same page as Edward in the way of I don't mind the rise of subtitles, in the way of that means, are the stories that we're trying to tell are more accessible to more people? You know, things like subtitles and even audio descriptions. It just knowing that we can still have that story connect with a greater audience. That's ultimately you know, and I mean there are legitimate frustrations in you know, be in what we're talking about, but ultimately the fact that more people are able to interact with the story.

The fact that more people's hearing is being impaired.

The fact that more people's hearing is being impaired.

Frankly, it's not even just doing what you and I are doing right now.

Frankly, it's not even just doing what you and I are doing right now.

I am hearing you at.

I am hearing you at.

A level that if I take these out, you wouldn't be as amplified in my ears as you are right now. And the fact that they right next to you and across from Austin, and this notion that I need these things in my ear by the way you talk about the thing for the blind, the sounds, the oftimate soundstrack Sha aameless plug. Our announcer for this show is my son, Noah Nice. The bulk of his current voice over career is audio tracks for the Blood.

A level that if I take these out, you wouldn't be as amplified in my ears as you are right now. And the fact that they right next to you and across from Austin, and this notion that I need these things in my ear by the way you talk about the thing for the blind, the sounds, the oftimate soundstrack Sha aameless plug. Our announcer for this show is my son, Noah Nice. The bulk of his current voice over career is audio tracks for the Blood.

He is the guy that you hear going, They're walking on the beach, dicks her hand. She smiles. That's my son.

He is the guy that you hear going, They're walking on the beach, dicks her hand. She smiles. That's my son.

I'm very the My favorite thing is when I'm accidentally because I got now on my TV's at eight thousand buttons the control stuff. Yeah, when I accidentally, instead of hitting the captain, I hit that and can't get it off right away and it's hilarious.

I'm very the My favorite thing is when I'm accidentally because I got now on my TV's at eight thousand buttons the control stuff. Yeah, when I accidentally, instead of hitting the captain, I hit that and can't get it off right away and it's hilarious.

You don't know what the.

You don't know what the.

Hell's going on.

Hell's going on.

I watched half you mentioned Squid Games. I'm not kidding. I watched half of Squid Games, going is this what's happening? Because I know they messed with the people. Oh, it's an audience participation thing. They're messing with me talking to my brain.

I watched half you mentioned Squid Games. I'm not kidding. I watched half of Squid Games, going is this what's happening? Because I know they messed with the people. Oh, it's an audience participation thing. They're messing with me talking to my brain.

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

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

Know, the Korean one, the one that was showing audio descripts on.

Know, the Korean one, the one that was showing audio descripts on.

Accidentally I didn't know, And initially, yes, I didn't. I didn't think to put the captioning on.

Accidentally I didn't know, And initially, yes, I didn't. I didn't think to put the captioning on.

So as it came on, it in English with that track on, and I went, uh, this is a fascinating.

So as it came on, it in English with that track on, and I went, uh, this is a fascinating.

Choice, fascinating creative choice.

Choice, fascinating creative choice.

Thanks for coming in, Thanks for coming on.

Thanks for coming in, Thanks for coming on.

And we promise you we will close caption and subtitle which I don't even know. Close captioning, I guess tells you everything that's going on subtitles is just dialogue.

And we promise you we will close caption and subtitle which I don't even know. Close captioning, I guess tells you everything that's going on subtitles is just dialogue.

I see the research I put into this episode.

I see the research I put into this episode.

And Edwards, Edwards, if you go to why we all need subtitles now, you've got a good shot at seeing his h his work, which is really really specific.

And Edwards, Edwards, if you go to why we all need subtitles now, you've got a good shot at seeing his h his work, which is really really specific.

Be half on actors everywhere.

Be half on actors everywhere.

Dialogue first, forget the music, forget the sound efext dialogue, dialogue, dig log make me sound good, David, so tell us and by the way, we'll be subtitling you everything. You say, what what do we need to learn about tub titles.

Dialogue first, forget the music, forget the sound efext dialogue, dialogue, dig log make me sound good, David, so tell us and by the way, we'll be subtitling you everything. You say, what what do we need to learn about tub titles.

That we did at this guy?

That we did at this guy?

Well, the thing that bothers mean Number one is why can't they universalize where that subtitled button is? Yes, right, like you're always hunting for do I got to push down to the side? Does it do I have to go through Chinese and Mandarin and the English.

Well, the thing that bothers mean Number one is why can't they universalize where that subtitled button is? Yes, right, like you're always hunting for do I got to push down to the side? Does it do I have to go through Chinese and Mandarin and the English.

It's always say also where they place it on the screen, because sometimes it's below and then sometimes it's above and it's blocked and stuff, which is the pain in the thank you.

It's always say also where they place it on the screen, because sometimes it's below and then sometimes it's above and it's blocked and stuff, which is the pain in the thank you.

This basically got me thinking, you know, subtitles and TVs and all of this digital technology th HX and all this stuff. It's supposed to make things better, yet technology has made it worse. It's just we can't we can't hear thinking now you're talking my lane, right, So what are some new cutting ise technologies.

This basically got me thinking, you know, subtitles and TVs and all of this digital technology th HX and all this stuff. It's supposed to make things better, yet technology has made it worse. It's just we can't we can't hear thinking now you're talking my lane, right, So what are some new cutting ise technologies.

That have made life go ahead?

That have made life go ahead?

Go ahead?

Go ahead?

Of course, now we all know.

Of course, now we all know.

That calling anyone you know, people don't answer, doctor's offices don't answer and whatever, and you get these phone chain things.

That calling anyone you know, people don't answer, doctor's offices don't answer and whatever, and you get these phone chain things.

Yes, yes, getting the news. It used to be you sit in front of a TV.

Yes, yes, getting the news. It used to be you sit in front of a TV.

You turn it on to channel two fours, and there was your news at six o'clock, or you got it there.

You turn it on to channel two fours, and there was your news at six o'clock, or you got it there.

The newspaper in the morning.

The newspaper in the morning.

Right now, you have to get the news from all over here, this, this or whatever. But then you have to check it right to see if it's fake news.

Right now, you have to get the news from all over here, this, this or whatever. But then you have to check it right to see if it's fake news.

Gotta vet it.

Gotta vet it.

Yes, sure, watching a TV show, watching a TV show?

Yes, sure, watching a TV show, watching a TV show?

What streaming service is it?

What streaming service is it?

I got to get a new new thing.

I got to get a new new thing.

Where's Hulu?

Where's Hulu?

Is?

Is?

Who? You're?

Who? You're?

So?

So?

On my screen?

On my screen?

Where all the different possibilities where the streaming are? I put it on that screen and then on my remote there's a button that you can push to talk, and I go where is Yellowstone? You know, it'll tell you where it is and it'll take you to it. But sometimes you have it. You have it for free, right because you've already bought that app, but it'll take you to a secondary one to go. You can watch it for nine ninety nine and I go on this channel trying to right, all right, all right, yes, that's it. Yes, David, You're right made it worse.

Where all the different possibilities where the streaming are? I put it on that screen and then on my remote there's a button that you can push to talk, and I go where is Yellowstone? You know, it'll tell you where it is and it'll take you to it. But sometimes you have it. You have it for free, right because you've already bought that app, but it'll take you to a secondary one to go. You can watch it for nine ninety nine and I go on this channel trying to right, all right, all right, yes, that's it. Yes, David, You're right made it worse.

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

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

I'm gonna say it.

I'm gonna say it.

Voting, Ah cook using a recipe? Right, we used to have either mom gave us a recipe or he had a book. Where do you find the recipes on the Instagram and you go to it, but there's like thirty million ads and then they don't have the ingredients.

Voting, Ah cook using a recipe? Right, we used to have either mom gave us a recipe or he had a book. Where do you find the recipes on the Instagram and you go to it, but there's like thirty million ads and then they don't have the ingredients.

Listen.

Listen.

To get the ingredients list you have to click through the thing, but there's there's a pay walled up above it.

To get the ingredients list you have to click through the thing, but there's there's a pay walled up above it.

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

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

You know said voting.

You know said voting.

You know what he said.

You know what he said.

He lives in.

He lives in.

The rest of us are voting.

The rest of us are voting.

I have no trouble voting. Is you sent it in?

I have no trouble voting. Is you sent it in?

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

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

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

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

Anything else?

Anything else?

Uh?

Uh?

No, God, blessed well, that was fantastic.

No, God, blessed well, that was fantastic.

So my subtitle, what would your subtitle this episode?

So my subtitle, what would your subtitle this episode?

Really?

Really?

No really subtitles and then in parentheses the subtitle would be fantastic.

No really subtitles and then in parentheses the subtitle would be fantastic.

I'm sorry, brother Bennis.

I'm sorry, brother Bennis.

And gentlemen, now, who can hear me or not.

And gentlemen, now, who can hear me or not.

Really.

Really.

Please listen now.

Please listen now.

There's another episode. If Really No Really comes to a close.

There's another episode. If Really No Really comes to a close.

I know you're wondering, what are a bunch of the weirdest sound effects ever used in a motion picture? That answer in a moment, but first let's thank our guests, Ed Vega and Austin Olivia Kendrick. Ed's website is vox dot com and you can follow him on Instagram where he is at Ed from Queen's. Austin is on Facebook where she is Austin Olivia Kendrick, and on Instagram and TikTok she is at aok dot wav. Find all pertinent links in our show notes, our little show hangs out on Instagram, TikTok YouTube, and threads at Really No Really Podcast, And of course you can share your thoughts and feedback with us online at reallynoreally dot com. If you have a really some amazing factor story that boggles your mind, share it with us, and if we use it, we will send you a little gift.

I know you're wondering, what are a bunch of the weirdest sound effects ever used in a motion picture? That answer in a moment, but first let's thank our guests, Ed Vega and Austin Olivia Kendrick. Ed's website is vox dot com and you can follow him on Instagram where he is at Ed from Queen's. Austin is on Facebook where she is Austin Olivia Kendrick, and on Instagram and TikTok she is at aok dot wav. Find all pertinent links in our show notes, our little show hangs out on Instagram, TikTok YouTube, and threads at Really No Really Podcast, And of course you can share your thoughts and feedback with us online at reallynoreally dot com. If you have a really some amazing factor story that boggles your mind, share it with us, and if we use it, we will send you a little gift.

Nothing life changing, obviously, but it's the thought that counts.

Nothing life changing, obviously, but it's the thought that counts.

Check out our full episodes on YouTube, hit that subscribe button and take that bell so you're updated when we release new videos.

Check out our full episodes on YouTube, hit that subscribe button and take that bell so you're updated when we release new videos.

And episodes, which we do each Tuesday.

And episodes, which we do each Tuesday.

So listen and follow us on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. And Now, what are five of the weirdest movie sound effects you've likely heard?

So listen and follow us on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. And Now, what are five of the weirdest movie sound effects you've likely heard?

Number One?

Number One?

In Terminator two Judgment Day, the villain is T one thousand slides through the bars of.

In Terminator two Judgment Day, the villain is T one thousand slides through the bars of.

A jailhouse door.

A jailhouse door.

That wet slithering effect was actually the sound of dog food sliding out of a tin can.

That wet slithering effect was actually the sound of dog food sliding out of a tin can.

Number two. The punches in Fight Club were not made the old fashioned way of hitting a phone book.

Number two. The punches in Fight Club were not made the old fashioned way of hitting a phone book.

Instead, sound designer Ren Kleist put walnuts inside the carcasses of chickens, chuck them out to a parking garage, and beat the.

Instead, sound designer Ren Kleist put walnuts inside the carcasses of chickens, chuck them out to a parking garage, and beat the.

Hell out of them. Number three.

Hell out of them. Number three.

If you're watching something alien or creepy on film and hearing a weird, shimmery, discordant soundscape, then you.

If you're watching something alien or creepy on film and hearing a weird, shimmery, discordant soundscape, then you.

Are likely listening to a water phone.

Are likely listening to a water phone.

The instrument is basically a small bowl of water with various metal and glass stems coming from it. The stems are played with a violin bow and unearthly tones and shrieks or forth. Take a listen to Aliens or The Matrix or the X Files and you'll get a symphony of them.

The instrument is basically a small bowl of water with various metal and glass stems coming from it. The stems are played with a violin bow and unearthly tones and shrieks or forth. Take a listen to Aliens or The Matrix or the X Files and you'll get a symphony of them.

Number four.

Number four.

If you were cringing at the sounds of breaking bones in a quiet place, take comfort and knowing that all that was sonically breaking or stocks of celery and number five. In the film, Final Destination for a racing car skids out of control and crashes, sending flying debris everywhere. But instead of the standard noise of skidding, the sound team blatantly inserts the sounds of dolphins clicking and squeaking. It's not blended or altered, It's just dolphins, apparently narrating a car crash. Really no, Like, go watch the movie I'm being serious.

If you were cringing at the sounds of breaking bones in a quiet place, take comfort and knowing that all that was sonically breaking or stocks of celery and number five. In the film, Final Destination for a racing car skids out of control and crashes, sending flying debris everywhere. But instead of the standard noise of skidding, the sound team blatantly inserts the sounds of dolphins clicking and squeaking. It's not blended or altered, It's just dolphins, apparently narrating a car crash. Really no, Like, go watch the movie I'm being serious.

No really.

No really.

Really no, really.

Really no, really.

Really no really is a production of iHeartRadio and Blaise Entertainment.

Really no really is a production of iHeartRadio and Blaise Entertainment.

M hm

M hm