Shadowing Practice: Why we all need subtitles now - Learn English Speaking with Video
בחר מצב תרגול
כל מצב פותח חדר תרגול במסך מלא.
136 משפטים
אם המשפטים קצרים או ארוכים מדי, לחץ על ערוך כדי להתאים אותם.
1
I watch a lot of movies in TV.
2
On the train, at home, at the movies, while doing dishes.
3
But no matter where I'm watching, I find myself constantly doing this one thing.
4
I'd like to always be more.
5
What?
6
I'd like to always be more.
7
What?
8
I'd like to always be more.
9
Ugh.
10
I'd like to always be more.
11
Oh no. It turns out this isn't unusual.
12
We polled our YouTube audience and about 57% of people said
13
that they feel like they can't understand the dialogue and the things that they watch unless they're using subtitles.
14
But it feels like this hasn't always been the case.
15
So to figure out what was going on, I made a call.
16
Hi, my name is Austin Olivia Kendrick.
17
I'm a professional dialogue editor for film and TV.
18
I basically perform audio surgery on actors' words.
19
Do you watch it subtitles?
20
I do actually.
21
I do a lot of the time.
22
So why do you think that we all feel like we need subtitles now?
23
I get asked this question all the time.
24
All the time.
25
It's something that is, it doesn't have a simple straightforward answer.
26
It's very layered and very complex.
27
And after talking to Austin for almost two hours, it's true.
28
It's a very layered and complex topic.
29
But everything kept pointing back to one main thing.
30
Technology that got us from this… I'll get you!
31
You should be kissed enough!
32
No origin, no what has happened to your last… To this… I just forgot a little slim-wasted.
33
Well we better put our hat down!
34
Let's start with microphones.
35
I'm gonna use this clip from Singin' in the Rain to show how mics used to work.
36
Here's the mic, you talk towards it.
37
The sound goes through the cable to the box.
38
A man records it on a big record in wax."
39
This scene illustrates some of the difficulties and intricacies of early sound recording.
40
Mics were big, bulky, temperamental, and required creative solutions to be hidden.
41
They were wired and recorded onto hard memory, like wax and eventually tape.
42
No matter how many actors were in a scene, all sound got recorded to one track,
43
so performers had to be diligently focused and facing a certain angle so that their words could be picked up.
44
Otherwise, you couldn't hear a thing.
45
But technology's improved to the point where microphones don't impede performance as much anymore.
46
They've become better, smaller, wireless, and we use more of them to ensure that performances get captured.
47
What we typically are working with from production dialogue is two boom microphones
48
and then every actor has at least one lavalier microphone hidden somewhere on them.
49
These shrinking mics have given actors the flexibility to be more naturalistic in their performances.
50
They no longer need to project so that their words reach the mic.
51
They can speak softly knowing that the tiny mic hidden on their body will pick up what they're saying.
52
And my personal favorite example of this performance shift is Alec Baldwin on 30 Rock.
53
In a 2011 speech slash roast, Tina Fey says that he speaks so quietly that she can't hear him when she's standing next to him.
54
And then you play the film back and it's there somehow.
55
Just listen to this whisper off between him and Will Arnett.
56
I'm not afraid of you.
57
Yeah.
58
Well, you should be.
59
Let's just see how it all shakes out in the meeting.
60
Naturalism isn't always the best for intelligibility though.
61
Take Tom Hardy, an actor that I personally love but who famously is a mumbler.
62
Your ass is still be fomking around in the story right now if it wasn't for me.
63
I mean, the mic picked that line up fine.
64
Like we can definitely hear that he's talking, he's saying something.
65
But once that mumble gets recorded, it's onto a dialogue editor's shoulder to make it as intelligible as possible.
66
that was a lot harder when everything was analog.
67
While you could pick the best takes and physically spice them together, if some piece of dialogue was truly impossible to understand,
68
then actors will come in and re-record those specific lines in a process called ADR,
69
or Automated Dialogue Replacement, which you can see Meryl Streep do in this scene from Postcards from the Edge.
70
There's enough money in the world for a cause like yours.
71
That still gets done today, but...
72
ADR also costs money because you're not only paying for the actor's time, you're paying for the engineer's time and then the editor's time.
73
So we try to do ADR, frankly, as little as possible.
74
And so a lot of her job is making words sound better.
75
The show I'm currently working on, I remember in the middle of this one word, there was just this loud metal clang that I couldn't remove.
76
So I had to go in and I had to find an alternate take of it that fit, and then I had to fit it to the movement of her mouth in that moment, and then push it in.
77
And once she's done with it, it's sent off to a mixer, who works to make sure the frequencies of the sound effects and music don't overlap with the frequencies of the human voice,
78
something that's only possible now that the world has moved away from tape and into digital recordings.
79
That is a big challenge, carving out those frequencies, that space,
80
amongst every other element of the mix for the dialogue to be able to punch through
81
and not be all muddied up by any other sounds that exist in that band of frequencies.
82
But even with all that work, lines of dialogue can still be hard to understand.
83
The kind of feeling has been if you want your movie to feel quote-unquote cinematic,
84
you have to have wall-to-wall bombastic loud sound.
85
A lot of people will ask like, why don't you just turn the dialogue up?
86
Like just turn it up and the...
87
If only it was that simple.
88
Because a big thing that we want to preserve is a concept called dynamic range.
89
The range between your quietest sound and your loudest sound.
90
If you have your dialogue that's going to be at the same volume as an explosion that immediately follows it, the explosion is not gonna feel as big.
91
You need that contrast in volume in order to give your ear a sense of scale.
92
But the thing is, you can only make something so loud before it gets distorted.
93
So if you want to create that wide dynamic range, you have no choice but to push those quieter sounds lower, instead of pushing the louder sounds louder.
94
So, explosions go up and dialogue comes down.
95
Which brings us to the Christopher Nolan of it all.
96
A separate structure within the other staff.
97
What is that after you, right?
98
We're kicking out of orbit!
99
Nearly every film of his has been criticized for its hard-to-hear dialogue that essentially begs for subtitles.
100
But as this headline explains, he likes it that way.
101
According to an interview in a book called The Nolan Variations, he said that he gets a lot of complaints, even from other filmmakers, who would say,
102
I just saw your film and the dialogue is inaudible.
103
The truth was, it was kind of the whole enchilada of how we had chosen to mix it.
104
And in his 2017 interview with IndieWire, he said, we made the decision a couple of films ago that we weren't going to mix films for substandard theaters.
105
And this is kind of the crux of the matter.
106
The content that we watch here and here and here is not mixed for us primarily.
107
Re-recording mixers mix for the widest surround sound format that is available.
108
Typically like big release films, that is Dolby Atmos, which has true 3D sound up to 128 channels.
109
The thing is, if you're not at a movie theater that can showcase the best sound Hollywood has to offer, you can't experience all of those channels.
110
So after the movie is mixed for the 128 Atmos tracks,
111
somebody has to create a separate version of the film's audio where all those same sounds live on one, or two, or five tracks.
112
This is called down mixing.
113
Down mixing is the process of taking that biggest mix and folding it down into formats with lesser channels available to it.
114
So say Atmos down to 7.1 or 7.1 down to 5.1 or 5.1 down to stereo, stereo down to mono.
115
Unlike old TVs that were gigantic and had a ton of space for speakers, TVs today are super thin.
116
Like this one that I have in my living room is about the same thickness as my iPhone.
117
So even though it's outputting the same mono or stereo sound that an older TV might,
118
it's still going to sound worse because you have to have tiny little speakers to fit into this tiny sleek form factor.
119
These tiny speakers are also usually on the back of the TV, so the down mix version of this movie
120
that went from 128 channels down to just two is going to sound even muddier when it's pointing away from you.
121
And when you're watching on your phone or a laptop, it's generally not much better.
122
When you combine not great speakers, naturalistic mumbly performances, dynamic range featuring bombastic sounds over dialogue and a flattened mix,
123
it's no wonder we have trouble hearing what's going on.
124
And it seems like the industry knows this because TVs today are shipping with all kinds of settings built in, like this intelligence mode.
125
You can put on active voice amplification in hopes of making that dialogue track come through just a little bit clearer.
126
But of course that's more band-aid than it is solution.
127
The way movies get mixed likely isn't going to revert back to super pristine dialogue.
128
So the solutions we have are one, buy better speakers and only go to theaters that have impeccable sound.
129
Two, take a chill pill
130
and try to just worry a little bit less about picking up every single word that gets said, or three, just keep the subtitles on.
131
For people who are deaf or hard of hearing, subtitles make movies and TV shows accessible,
132
and this accessibility has just expanded in recent years.
133
Laws have been passed to ensure that movie theaters have at least a few screenings weak with captions.
134
Pretty much every streaming service has standardized them,
135
and speech recognition technology has made them accessible in pretty much every YouTube video and TikTok.
136
Plus they're super easy to toggle on and off.
הורד אפליקציה
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אוצר מילים והערות הגייה לשיעור הזה
שיעור הדיבור הזה ברמה C1 מבוסס על הסרטון “Why we all need subtitles now”. המילים שחוזרות הכי הרבה: sound, dialogue, movie, mic, mix. בסרטון הזה יש 136 משפטים ו-1792 מילים לתרגול Shadowing. הדיבור נמשך 10:42. הדובר מדבר בקצב טבעי של כ-168 מילים בדקה, קרוב לשיחה יומיומית. 82% מהמילים נמצאות בין 3,000 המילים הנפוצות ביותר באנגלית; כדאי ללמוד את השאר לפני שמתחילים.
אוצר מילים מרכזי בסרטון הזה
12 המילים המתקדמות ביותר בסרטון, עם ההגייה והמשמעות שלהן:
| מילה | הגייה | משמעות |
|---|---|---|
| subtitle שם עצם | /ˈsʌbtaɪtəl/ | כּוֹתֶרֶת מִשְׁנֶה |
| microphone שם עצם | /ˈmaɪ.kɹəˌfəʊn/ | מִיקְרוֹפוֹן |
| unquote | סוף ציטוט | |
| accessibility שם עצם | /əkˌsɛs.əˈbɪl.ə.ti/ | נְגִישׁוּת, הַנְגָּשָׁה |
| criticize פועל | /ˈkɹɪtɪsaɪz/ | ביקר |
| illustrate פועל | /ˈɪl.əˌstɹeɪt/ | הִמְחִישׁ |
| analog שם תואר | /ˈænəlɔɡ/ | אָנָלוֹגִי |
| spouse שם עצם | /spaʊ̯s/ | בֶּן זוּג, בַּת זוּג |
| deaf שם תואר | /diːf/ | חֵירֵשׁ, חירשים |
| flexibility שם עצם | /ˌflɛksɪˈbɪlɪti/ | גְּמִישׁוּת |
| pill שם עצם | /pɪl/ | כַּדּוּר, גְּלוּלָה |
| orbit שם עצם | /ˈɔɹ.bɪt/ | מַסְלוּל |
Phrasal verbs שתשמעו
| מילה | משמעות |
|---|---|
| pick up פועל | הרים, אסף |
| figure out פועל | הֵבִין, מצא תשובה |
| go up פועל | עָלָה |
משפטים שכדאי לחזור עליהם
משפטים קצרים ושלמים מהסרטון שאפשר להשתמש בהם בשיחה יומיומית:
- I'd like to always be more.
- Do you watch it subtitles?
- Technology that got us from this… I'll get you!
- Here's the mic, you talk towards it.
- Otherwise, you couldn't hear a thing.
דקדוק בסרטון הזה
המבנים שהדובר משתמש בהם הכי הרבה, עם המילים המדויקות מהסרטון:
| מבנה | בסרטון |
|---|---|
| הווה מושלם (Present perfect) have/has + past participle — פעולה שקרתה בעבר ועדיין יש לה חשיבות או השפעה עכשיו | hasn't always been · has happened · They've become |
| סביל (Passive voice) be + past participle — הדגש הוא על מה שקורה, לא על מי שעושה את הפעולה | should be kissed · be hidden · were wired |
| משפטי זיקה (Relative clauses) who / which + clause — מידע נוסף על אדם או דבר | Atmos, which has · people who are |
הגייה ששווה לשים לב אליה
הדובר משתמש ב-36 קיצורים וצורות מקוצרות, כמו I'm, I'd, you're. אמרו אותם בצורה הקצרה, כפי שאתם שומעים אותם.
- הצלילים של “sh” ו-“zh”: amplification /ˌæmplɪfɪˈkeɪʃən/, caption /ˈkæp.ʃən/, showcase /ˈʃoʊˌkeɪs/
- מילים ארוכות — שימו לב להטעמה: mononucleosis /ˌmɑnoʊnukliˈoʊsɪs/, amplification /ˌæmplɪfɪˈkeɪʃən/, diligently /ˈdɪlɪd͡ʒ(ə)ntli/, enchilada /ˌɛn.t͡ʃɪˈlɑ.də/, impeccable /ɪmˈpɛkəbəl/
צלילים שדוברי עברית מתקשים בהם:
- /w/ — שפתיים מעוגלות, לא /v/: whisper /ˈ(h)wɪspɚ/, straightforward /ˌstɹeɪtˈfɔː(ɹ)wə(ɹ)d/
- /æ/ — פתוח יותר מה-“אֶ” העברית, לא כמו “a” ב-“cup”: bombastic /bɑmˈbæs.tɪk/, amplification /ˌæmplɪfɪˈkeɪʃən/, flatten /ˈflæ.tən/, kinematic /kɪn.əˈmæt.ɪk/, lavalier /ˌlæv.əˈlɪɹ/
- /r/ — הלשון לא נוגעת בשום מקום, לא ה-“ר” הגרונית: microphone /ˈmaɪ.kɹəˌfəʊn/, stereo /ˈstɛəɹ.i.oʊ/, mixer /ˈmɪksə(ɹ)/, intricacy /ˈɪn.tɹɪ.kə.si/, lavalier /ˌlæv.əˈlɪɹ/
איך לתרגל עם הסרטון הזה
- הקשיבו לכל הסרטון פעם אחת בלי לדבר, ורשמו את המילים שאתם לא מכירים.
- התחילו במהירות 0.75×, תרגלו Shadowing משפט אחר משפט, וחזרו למהירות רגילה כשזה מרגיש קל.
- הקליטו את עצמכם והשוו למקור, תוך תשומת לב למילים כמו subtitle, microphone, unquote.
מהי טכניקת השאדואינג?
שאדואינג היא טכניקת למידת שפה מבוססת מדע שפותחה במקור להכשרת מתורגמנים מקצועיים ופופולרית על ידי הפוליגלוט ד"ר אלכסנדר ארגואלס. השיטה פשוטה אך עוצמתית: אתה מקשיב לאודיו באנגלית ילידית וחוזר עליו בקול רם מיד — כמו צל העוקב אחרי הדובר עם עיכוב של 1–2 שניות בלבד. בניגוד להאזנה פסיבית או תרגילי דקדוק, שאדואינג מכריח את המוח והשרירים בפה לעבד ולשחזר דפוסי דיבור אמיתיים בו זמנית. מחקרים מראים שזה משפר משמעותית את דיוק ההגייה, האינטונציה, הקצב, הדיבור המחובר, הבנת השמיעה ושטף הדיבור — מה שהופך אותו לאחת השיטות היעילות ביותר להכנה לIELTS Speaking ולתקשורת באנגלית בעולם האמיתי.