Luyện nói tiếng Anh bằng Shadowing qua video: Why we all need subtitles now
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I watch a lot of movies in TV.
136 câu
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I watch a lot of movies in TV.
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On the train, at home, at the movies, while doing dishes.
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But no matter where I'm watching, I find myself constantly doing this one thing.
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I'd like to always be more.
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What?
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I'd like to always be more.
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What?
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I'd like to always be more.
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Ugh.
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I'd like to always be more.
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Oh no. It turns out this isn't unusual.
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We polled our YouTube audience and about 57% of people said
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that they feel like they can't understand the dialogue and the things that they watch unless they're using subtitles.
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But it feels like this hasn't always been the case.
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So to figure out what was going on, I made a call.
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Hi, my name is Austin Olivia Kendrick.
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I'm a professional dialogue editor for film and TV.
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I basically perform audio surgery on actors' words.
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Do you watch it subtitles?
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I do actually.
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I do a lot of the time.
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So why do you think that we all feel like we need subtitles now?
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I get asked this question all the time.
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All the time.
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It's something that is, it doesn't have a simple straightforward answer.
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It's very layered and very complex.
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And after talking to Austin for almost two hours, it's true.
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It's a very layered and complex topic.
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But everything kept pointing back to one main thing.
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Technology that got us from this… I'll get you!
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You should be kissed enough!
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No origin, no what has happened to your last… To this… I just forgot a little slim-wasted.
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Well we better put our hat down!
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Let's start with microphones.
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I'm gonna use this clip from Singin' in the Rain to show how mics used to work.
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Here's the mic, you talk towards it.
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The sound goes through the cable to the box.
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A man records it on a big record in wax."
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This scene illustrates some of the difficulties and intricacies of early sound recording.
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Mics were big, bulky, temperamental, and required creative solutions to be hidden.
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They were wired and recorded onto hard memory, like wax and eventually tape.
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No matter how many actors were in a scene, all sound got recorded to one track,
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so performers had to be diligently focused and facing a certain angle so that their words could be picked up.
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Otherwise, you couldn't hear a thing.
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But technology's improved to the point where microphones don't impede performance as much anymore.
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They've become better, smaller, wireless, and we use more of them to ensure that performances get captured.
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What we typically are working with from production dialogue is two boom microphones
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and then every actor has at least one lavalier microphone hidden somewhere on them.
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These shrinking mics have given actors the flexibility to be more naturalistic in their performances.
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They no longer need to project so that their words reach the mic.
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They can speak softly knowing that the tiny mic hidden on their body will pick up what they're saying.
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And my personal favorite example of this performance shift is Alec Baldwin on 30 Rock.
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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.
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And then you play the film back and it's there somehow.
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Just listen to this whisper off between him and Will Arnett.
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I'm not afraid of you.
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Yeah.
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Well, you should be.
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Let's just see how it all shakes out in the meeting.
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Naturalism isn't always the best for intelligibility though.
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Take Tom Hardy, an actor that I personally love but who famously is a mumbler.
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Your ass is still be fomking around in the story right now if it wasn't for me.
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I mean, the mic picked that line up fine.
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Like we can definitely hear that he's talking, he's saying something.
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But once that mumble gets recorded, it's onto a dialogue editor's shoulder to make it as intelligible as possible.
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that was a lot harder when everything was analog.
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While you could pick the best takes and physically spice them together, if some piece of dialogue was truly impossible to understand,
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then actors will come in and re-record those specific lines in a process called ADR,
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or Automated Dialogue Replacement, which you can see Meryl Streep do in this scene from Postcards from the Edge.
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There's enough money in the world for a cause like yours.
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That still gets done today, but...
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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.
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So we try to do ADR, frankly, as little as possible.
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And so a lot of her job is making words sound better.
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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.
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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.
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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,
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something that's only possible now that the world has moved away from tape and into digital recordings.
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That is a big challenge, carving out those frequencies, that space,
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amongst every other element of the mix for the dialogue to be able to punch through
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and not be all muddied up by any other sounds that exist in that band of frequencies.
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But even with all that work, lines of dialogue can still be hard to understand.
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The kind of feeling has been if you want your movie to feel quote-unquote cinematic,
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you have to have wall-to-wall bombastic loud sound.
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A lot of people will ask like, why don't you just turn the dialogue up?
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Like just turn it up and the...
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If only it was that simple.
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Because a big thing that we want to preserve is a concept called dynamic range.
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The range between your quietest sound and your loudest sound.
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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.
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You need that contrast in volume in order to give your ear a sense of scale.
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But the thing is, you can only make something so loud before it gets distorted.
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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.
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So, explosions go up and dialogue comes down.
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Which brings us to the Christopher Nolan of it all.
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A separate structure within the other staff.
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What is that after you, right?
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We're kicking out of orbit!
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Nearly every film of his has been criticized for its hard-to-hear dialogue that essentially begs for subtitles.
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But as this headline explains, he likes it that way.
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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,
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I just saw your film and the dialogue is inaudible.
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The truth was, it was kind of the whole enchilada of how we had chosen to mix it.
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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.
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And this is kind of the crux of the matter.
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The content that we watch here and here and here is not mixed for us primarily.
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Re-recording mixers mix for the widest surround sound format that is available.
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Typically like big release films, that is Dolby Atmos, which has true 3D sound up to 128 channels.
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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.
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So after the movie is mixed for the 128 Atmos tracks,
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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.
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This is called down mixing.
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Down mixing is the process of taking that biggest mix and folding it down into formats with lesser channels available to it.
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So say Atmos down to 7.1 or 7.1 down to 5.1 or 5.1 down to stereo, stereo down to mono.
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Unlike old TVs that were gigantic and had a ton of space for speakers, TVs today are super thin.
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Like this one that I have in my living room is about the same thickness as my iPhone.
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So even though it's outputting the same mono or stereo sound that an older TV might,
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it's still going to sound worse because you have to have tiny little speakers to fit into this tiny sleek form factor.
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These tiny speakers are also usually on the back of the TV, so the down mix version of this movie
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that went from 128 channels down to just two is going to sound even muddier when it's pointing away from you.
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And when you're watching on your phone or a laptop, it's generally not much better.
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When you combine not great speakers, naturalistic mumbly performances, dynamic range featuring bombastic sounds over dialogue and a flattened mix,
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it's no wonder we have trouble hearing what's going on.
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And it seems like the industry knows this because TVs today are shipping with all kinds of settings built in, like this intelligence mode.
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You can put on active voice amplification in hopes of making that dialogue track come through just a little bit clearer.
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But of course that's more band-aid than it is solution.
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The way movies get mixed likely isn't going to revert back to super pristine dialogue.
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So the solutions we have are one, buy better speakers and only go to theaters that have impeccable sound.
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Two, take a chill pill
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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.
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For people who are deaf or hard of hearing, subtitles make movies and TV shows accessible,
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and this accessibility has just expanded in recent years.
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Laws have been passed to ensure that movie theaters have at least a few screenings weak with captions.
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Pretty much every streaming service has standardized them,
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and speech recognition technology has made them accessible in pretty much every YouTube video and TikTok.
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Plus they're super easy to toggle on and off.
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Tại sao nên luyện nói với video này?
Việc luyện nói tiếng Anh qua video không chỉ giúp cải thiện khả năng giao tiếp mà còn mang lại nhiều lợi ích khác. Trong video này, người trình bày đã chia sẻ về tầm quan trọng của phụ đề trong việc hiểu rõ nội dung. Khi bạn luyện nói tiếng Anh, bạn có thể lấy cảm hứng từ cách diễn đạt của nghệ sĩ, từ ngữ, và ngữ điệu của họ. Điều này không chỉ giúp bạn nâng cao kỹ năng nói mà còn giúp bạn cảm thụ văn hóa và phong cách giao tiếp tự nhiên.
Lợi ích cụ thể:
- Tăng khả năng lắng nghe và hiểu ngữ cảnh.
- Cải thiện từ vựng và cách dùng từ trong giao tiếp.
- Nâng cao sự tự tin khi giao tiếp với người khác bằng tiếng Anh.
Ngữ pháp & Cách diễn đạt trong ngữ cảnh
Trong video, có một số cấu trúc và cách diễn đạt đáng chú ý giúp người học có thể ứng dụng trong giao tiếp hàng ngày:
- Câu hỏi mở: "Do you watch with subtitles?" Câu hỏi này không chỉ tạo điều kiện cho cuộc trò chuyện mà còn giúp mở rộng chủ đề về thói quen xem phim của mọi người.
- Thì hiện tại tiếp diễn: "I am a professional dialogue editor," giúp người nghe hiểu rõ về vai trò của người trình bày và cách diễn đạt hiện tại.
- Câu điều kiện: "If you’re not focused, you can’t hear a thing," cho thấy sự liên kết giữa hành động và kết quả trong tình huống nghe hiểu.
Cạm bẫy phát âm phổ biến
Khi luyện nói tiếng Anh, người học thường gặp khó khăn với một số từ và ngữ điệu. Một số điểm chú ý từ video này bao gồm:
- Chữ cái đầu mũi: Ví dụ, khi nói "microphones," có thể nhiều người nhấn mạnh sai.
- Từ lóng và cách diễn đạt tự nhiên: Cách diễn đạt như "doing dishes in the bath" có thể khó khăn vì sự kết hợp của nhiều từ khác nhau.
- Ngữ điệu: Người trình bày sử dụng ngữ điệu rất tự nhiên, điều này có thể làm khó khăn cho người học khi cần bắt chước.
Bằng việc sử dụng phần mềm shadowing, bạn có thể luyện phát âm thích hợp, gia tăng sự tự tin và phản xạ ngôn ngữ qua shadow speech hoặc shadowspeak. Hãy tận dụng các video như thế này để nâng cao kỹ năng giao tiếp của bạn!
Phương Pháp Shadowing Là Gì?
Shadowing là kỹ thuật học ngôn ngữ có cơ sở khoa học, ban đầu được phát triển cho chương trình đào tạo phiên dịch viên chuyên nghiệp và được phổ biến rộng rãi bởi nhà đa ngôn ngữ học Dr. Alexander Arguelles. Nguyên lý cốt lõi đơn giản nhưng cực kỳ hiệu quả: bạn nghe tiếng Anh của người bản xứ và lặp lại to ngay lập tức — như một "cái bóng" (shadow) đuổi theo người nói với độ trễ chỉ 1–2 giây. Khác với luyện ngữ pháp hay học từ vựng bị động, Shadowing buộc não bộ và cơ miệng phải đồng thời xử lý và tái tạo ngôn ngữ thực tế. Các nghiên cứu khoa học xác nhận phương pháp này cải thiện đáng kể phát âm, ngữ điệu, nhịp điệu, nối âm, kỹ năng nghe và độ lưu loát khi nói — đặc biệt hiệu quả cho người luyện IELTS Speaking và muốn giao tiếp tiếng Anh tự nhiên như người bản ngữ.