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InitialsDiceBearhttps://github.com/dicebear/dicebearhttps://creativecommons.org/publicdomain/zero/1.0/„Initials” (https://github.com/dicebear/dicebear) by „DiceBear”, licensed under „CC0 1.0” (https://creativecommons.org/publicdomain/zero/1.0/)ST
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  • Mozart's full baptismal name was

    Johannes Chrystostomus Wolfgangus Theophilus Mozart

    But he went by a few different names, partially because there were so many different languages spoken by the aristocracy in 18th century Central Europe that he adapted his name to suit whatever language he was using at the moment. "Theophilus" is the Greek form of "Amadeus." Sometimes you'll see the German translation of "Gottlieb." Day-to-day, he is reported to have gone by "Wolfgang Amadè."

    It wasn't uncommon for people to translate their names freely like this. Beethoven went by "Luigi" in Italian texts, and "Louis" in French.

    "Giuseppe Verdi" would today be translated to English as "Joe Green."

  • With regard to a financial bailout, there are really only three options in the end here:

    1. Bail them out, let them off the hook, everything goes on as normal.
    2. Don't bail them out, they take the costs out of the utility customers.
    3. Don't bail them out, they do a performative bankruptcy, then are sold and reincorporated in a new name by basically the same people who ran it before.

    None of the options end up changing anything.

    Instead, the people in charge need to be incarcerated.

    It would also be nice if there were some metric for CapEx reinvestment that we could federally mandate for electric utility companies.

    We should also mandate that all last-mile lines are covered, to mitigate fire risk. I live in a small SoCal city of 140k people with our own water and electric utility, and we've been using covered lines for 30 years. We haven't had fires caused by our in-town utility in the time that I've lived here, which is a lot more than I can say for SoCal Edison. Our power also doesn't ever go out (again, unlike Edison).

  • If older movies are sounding fine, then something still isn't set to request the stereo stream/audio file (not just play back in stereo: actually pull the stereo file). I'd investigate further... Whenever I change this for family members, it works 100% of the time.

  • That's because your streaming device isn't set by default to request the stereo stream. It's picking up the surround stream and then doing a shitty job of folding it down to stereo. I bet old movies shot in stereo and mono probably have easier-to-hear dialogue on your particular home setup. Right?

    I have no idea why manufacturers won't change this default setting, but go in to the audio settings of your Apple TV or whatever and change your sound preference from "auto" to "stereo."

    Part of our deliverables is to make several different versions of every mix, including generally at very least one 5.1 surround mix and one stereo. I assure you that the stereo version that we make at the dub stage sounds a thousand times better than whatever garbage your TV is inventing by flattening the 5.1 (or possibly even Atmos) stream into stereo.

  • Most media has an "M&E" version, Music & Effects.

    In the course of sound editing, everything possible is split apart:

    Spoken dialogue gets its own set of tracks.

    "Good" noises caught on-set (usable footsteps, paper shuffling, etc) are called Production Effects (PFX), and those get their own tracks. The dialogue editor has to dig those out of the dialogue tracks and separate them into their own tracks. The dialogue editor also cleans out any "bad" noises.

    Foley, like footsteps or horse hooves, get its own set of tracks.

    Voiceover (ADR) gets its own tracks.

    "Futz" meaning stuff that's coming through a speakerphone or something, gets its own tracks. That's all created in post production from either ADR sessions, or wild takes on-set.

    "Hard effects" like explosions or other things that the post production team create, or otherwise pull in from outside of what was shot on-set get their own tracks.

    Background sounds get their own tracks.

    Music obviously gets its own tracks.

    The M&E mix for international re-recording is generally the following:

    PFX Foley Hard FX Backgrounds Music

    That way whatever team is overdubbing the foreign language tracks can work with material that doesn't interfere with what they're trying to do.

    Part of the "uncanny valley" effect that you're getting is that international overdubs have to be done in a sound booth, and then reverb/delay has to be added to make the dialogue sound like it's actually being spoken in the environment you see onscreen. Faking that experience through reverb and sound design is actually a really, REALLY difficult thing to pull off convincingly. There's just no substitute for all the tiny cues our ears perceive from the nuances of what's actually recorded on-set.

    That's why it so often sounds fake. Because it is. And like Mr. Plinkett says, your ears might not have been able to tell that something was wrong, but your brain could.

  • Yeah, the US is the only thing keeping Israel in business. They're useful to keep an eye on Iran, because we don't like Iran, because...?

    Saudis need our weapons, and Qatar likes the money we spend to keep our increasing number of bases there. But these are purely transactional relationships that we can have with anyone.

    I think Kuwait are still fans of the US.

    Other than that, everyone hates us because we protect Israel, and they hate Israel. Why don't we just join the club, and pick up an entire region of strategic allies instead of "Israel at all costs"?