Category: Audiovisual Translation

HOW-TO-BUILD-AN-EFFECTIVE-GLOBAL-LD-TRAININGPROGRAM_PORTADA
21/03/2023

How to Build an Effective Global L&D Training Program

Posted on | by Jacqueline De Marco | Leave a Comment on How to Build an Effective Global L&D Training Program

Many global businesses adopt an English-first approach to learning and development (L&D) training for their employees. Whilst English is a widely understood language, it’s important for businesses with a global workforce to remember that a strong understanding of the English language is not a guarantee for every single worker they employ.

Understandably, creating L&D materials in English is a popular choice for global organizations that feel they neither have the budget nor time for translations, but assuming people understand English is one thing and assuming they understand the cultural differences is another. The clash is inevitable.

While you’re likely to start with an English training program, there are a few things you can take into consideration and do in the development stage in order to make its localization easier and more cost-effective.

Choose Function over Form

Everyone loves a beautiful design, but when it comes to creating effective L&D training materials, the function must take priority over form. This is especially true when creating L&D content that requires localization. For example, adding animations can be visually appealing and add a fun flair to the L&D experience. However, when you have to localize complex design elements repeatedly, you may find those extra special touches don’t justify the cost of localization. Before choosing design elements, think about how they will affect your localization needs and if they provide enough value to justify localization.

Choose Your Layout Wisely

When you translate written content, this can affect the visuals of your L&D content greatly as other languages can take up much more or less space than written English text after translation. More often than not, other languages take up more space than English text. When choosing your initial layout, it helps to be strategic knowing that your space needs may change. Leaving a decent amount of white space in your original design can make a huge difference. While you can request that the localization specialist keep their new text concise and your designers can shrink the size of the text a bit, having more white space available to add expansive text can give you some much-needed breathing room.

Make the Choice Between Subtitles and Voice-Over

In an ideal world, you would localize all voice-over and subtitle content in your L&D materials, but this cannot be easy to pull off budget-wise as you would need to not only translate the subtitles and voice-over scripts, but hire a new narrator and record new audio content in all target languages. You may find that you need to choose between localization with just subtitles, voice-over, or dubbing to accommodate your budget. Think carefully about which format will best highlight your training materials.

Be Patient

The localization process is one that is best not to rush. To start, it can be helpful to wait until your source content is complete to provide the localization specialist with editable files. This will not only save you time, but money.

It’s also a good idea to coordinate timelines with your localization partner to ensure that the turnaround is viable and won’t require compromising quality to get the job done on time. Your localization partner will be able to advise which steps are needed to complete the project correctly and how long it should take.

The Takeaway

How can you make it easier to incorporate all of these tips into your L&D plans? Don’t leave planning the localization step for the end. If you keep localization needs in mind from day one, you’ll save money, time, and a headache.

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The Right Voice-Over Narrator for Audiobooks
02/08/2022

How to Find the Right Voice-Over Narrator for Audiobooks

Posted on | by Jacqueline De Marco | Leave a Comment on How to Find the Right Voice-Over Narrator for Audiobooks

Anyone who likes to hit the treadmill or who frequently gets stuck in bumper to bumper traffic is probably familiar with the ease and convenience of audiobooks. Listening to books is a great way to squeeze in a little recreation time while folding laundry or wrapping up mindless work tasks. 

It’s easy to see why audiobooks have grown so much in popularity in recent years. In the first quarter of 2017 alone, audiobook sales rose by 28.8% and in 2016, 24% of Americans listened to at least one audiobook, which was an increase from the 22% of people who reported doing so in 2015. 

With so much interest in audiobooks growing over the years, this leaves a lot of room for authors and publishing houses to benefit from this trend. Almost any book has the potential to become an audiobook, but for it to be effective, it has to be done well. There’s a lot more to making a good audiobook than just reading it out loud. The voice-over narrator in particular plays a key role in the success of an audiobook. 

Skills Audiobook Narrators Need

The bulk of the audiobook experience for the reader centers around the narrator, which is why it’s so important to work with an experienced narrator who is up to the task. These are some of the skills you should look for when hiring an audiobook narrator. 

  • Acting ability. A good narrator doesn’t simply read text, they act it out. When someone narrates an audiobook, they need to embody different characters and be able to authentically relay their stories. Having a background in acting can make accomplishing this task much easier. 
  • Voice abilities. To differentiate between characters, the narrator will need to alter their voice, to make it clear which character is speaking. They may even need to adapt accents or speak in different dialects. While no listener expects one narrator to completely change their voice for each character, they won’t be able to follow the story if the narrator doesn’t use a variety of voices. 
  • Stamina. Narration is a tiring task and one that requires stamina and a decent amount of breath control. Recording days can be long and tiring, so you’ll want to work with a narrator who is experienced working on these types of projects and who knows what to expect during a day of recording. 
  • Research. A narrator who is also a good researcher will be most effective at their job. The whole process will go a lot smoother if the narrator does some leg work and reviews the text in advance to confirm they know how to pronounce all the words. That way, they won’t stumble through the narration any time a new name or place they haven’t heard of before comes up in the text. 

How to Find the Right Narrator

To find the right narrator for an audio project, it’s important to compare work samples of any narrators you’re considering for the job. Here’s a few things you should pay attention to when reviewing those audio samples. 

  • Their voice. This seems like a no-brainer, but the narrator has to have the right voice for the project. No matter how good they are at their job, sometimes they may sound too young or too old for a role. They may have a flair for the dramatic or pronounce words in a specific way that doesn’t work for the tone of the book. Pay close attention to their voice to get a gauge if they can help your specific text come to life.
  • Their speed. How fast do they speak? Do they speak too fast for anyone to understand? Or too slow to keep the audience’s attention?
  • Their equipment and surroundings. If your narrator will be recording the audiobook using their own equipment in their own recording space, make sure you pay close attention to background sounds, echos, and other factors that can be influenced by their location or technology. 

Every book (or audiobook) is unique, which is why it’s only logical to be in doubt about what narrator to choose. If you’re about to embark on a project like this one, feel free to reach out to the Terra team and get advice and suggestions for your specific project. The last thing you want is for a great story to fall flat because the narrator wasn’t the right fit!

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Everything you need to know when planning a voice-over project
04/05/2022

Planning a Voice-over Project? Here’s What You Need to Know!

Posted on | by Jacqueline De Marco | Leave a Comment on Planning a Voice-over Project? Here’s What You Need to Know!

If you’re planning a voice-over project, you may be feeling a bit overwhelmed at all the work that lies ahead of you. One of the best ways to efficiently tackle a voice-over project is to have a clear plan in place. These are some of the important elements you need to know about, so you can properly manage a voice-over project from start to finish. 

Script

Before you can begin recording a voice-over, you need a solid script. This text document, created for the purpose of a voice-over recording, contains the text that needs to be recorded. A script can also provide additional comments to be taken into account, like special instructions or clarifications for a specific utterance (we’ll dive into this issue further in a minute). 

The script can already be in the language you need it to be or you may need to translate it first. For example, if you have already created an e-learning course in English that you want to translate into Spanish, the script will need to undergo translation first. It’s recommended that the client reviews the final translations and approves of the translated script before the recording step begins. This will prevent future updates to the script and recordings. 

Synchronization 

If your voice-over project corresponds to a video, you’ll need to confirm whether or not the audio needs to be synchronized with the video. This process is referred to as timed vs untimed voice-over and will play a factor in how the script reader paces themselves while speaking. Determining this beforehand can help provide an accurate quote since these two types are quoted differently. Timed-voice is generally a little more expensive because it takes more time to make and to time it perfectly.

Samples

Still, looking for the right voice-over talent for your project? This video shares some helpful tips for finding the right fit!

It’s important that you select the right voice-over talent for your project. Not all voices will necessarily be suitable for your specific type of project, so make sure you align the project purpose with the right voice. Let’s say the target audience of your project are children, then the selected voice should sound appealing to them. In this case, a woman with a soft and soothing voice may be better suited for the job. Requesting samples of the talent’s work will help you gauge whether or not they are the best voice for your project. 

File Names and Formats

If you prefer using a specific naming convention, label, or file format, it’s important to stay consistent. Some projects require several audio files to be recorded, which can be challenging to keep organized. Continuing with the example of the e-learning course, you may have an audio recording for each slide. Having a naming convention will enable easy identification and prevent time spent searching for the right file later on.

Instructions or Clarifications

You want your voice-over project to be as effective as possible, so you should always communicate your expectations to the voice-over talent. What might be a given for you, might not be for them. Your voice talent should know your preferred pronunciation for acronyms and special terms, if numbers on a list should be read or not, and if special emphasis is needed somewhere, among other important details. You can create a document with two columns, where the first one contains the text to be recorded, and the second one states any necessary clarifications the voice-over artist talent should be aware of.

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Intended for Mobile Use: Subtitling of Vertical Videos
17/02/2021

Intended for Mobile Use: Subtitling of Vertical Videos

Posted on | by Marisol Pérez Laglaive | Leave a Comment on Intended for Mobile Use: Subtitling of Vertical Videos

When half of the world’s population owns a smartphone, there is an audience of billions ready to play, stream, learn and communicate via mobile devices. For this reason, a lot of media content is specifically intended and produced for smartphones. Vertical videos, in which the image is taller than wider, are an example of this. Their aspect ratio makes them fit naturally into the devices’ screen. To watch these videos, mobile users don’t need to turn the phone, which creates a more user-friendly experience.

If an app or platform that integrates vertical videos is going to be localized, the audiovisual material in it needs to be localized too. Translating vertical videos into different languages, as with any other media content, is crucial to expand the audience globally and create more committed viewers and, hence, customers. To achieve this goal, subtitling can be a very useful and versatile solution.

Mobile and Localized

Vertical videos are now part of social media apps, such as TikTok, Instagram, Snapchat or Facebook. They are also utilized in streaming or video-based services, like Netflix’s previews or even YouTube, where some artists release their latest music videos in vertical and horizontal format. Lastly, we can find them on other kinds of mobile apps that have videos integrated, say delivery, mobile gaming or e-learning apps. These can include, for instance, advertisements, cutscenes or instructional videos in vertical format.

Subtitling can help localize all this content, with very favorable effects. First, subtitles in the same language as the audio are an accessibility resource for hard of hearing users. They also allow viewers to watch the video without sound, which is a common practice among mobile users. On the other hand, translated subtitles help content and products reach a global audience; they make content available to many more viewers around the world.

But to take the best advantage of this media localization solution, it’s worth noting some format considerations.

Vertical Fit

Technical specifications for subtitling vertical videos are mostly the same as for regular subtitles. Line breaks rules, subtitle duration or reading speed parameters don’t vary within image width. However, subtitles for vertical videos should fit in a more narrow screen. Because of this, the subtitler must evaluate the safe area and make adjustments accordingly. A safe area is a portion of the screen where subtitles are safely displayed. In that space, the whole text shows properly on the screen, allowing comfortable reading. In order to achieve this, subtitles for vertical videos can have a reduced character per line limit: from the standard 37-42 to 32-37 characters per line. Also, it’s possible to use smaller fonts to fit the text into the more narrow aspect ratio.

How a long line for a vertical formar doesn't fit on a screen.

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Everything you need to know about localizing voices!
09/02/2021

Localization Moves to the Studio: About Voice-Over Services

Posted on | by Marisol Pérez Laglaive | Leave a Comment on Localization Moves to the Studio: About Voice-Over Services

Content is king and the localization industry offers multiple mediums to serve it. From translation to transcreation, from subtitling to dubbing, language service providers have fitting solutions to localize audiovisual materials. Throughout marketing campaigns, streaming platforms, and e-learning courses, just to name a few, translation is crucial because audiences and markets flourish when content is available in the users’ languages.

Media localization solutions have different outcomes, workflows, schedules, and budgets. For example, subtitling or captioning can be cheaper and faster than recording voice-over tracks, since the process of producing and reviewing it doesn’t require studio sessions. However, localizing voices with native talents can result in a more engaging experience for the audience. This is why voice-over services are sometimes the ideal ally for campaigns, videos, or courses.

Off-screen narration

Voice-over is the simplest way of localizing audio recordings. It’s mostly used for documentaries, e-learning courses, and instructional and institutional videos when there is an off-screen voice. The process deliverable is an audio track recorded by a voice talent, that can be male or female, depending on the client’s preference. 

Most voice-over projects don’t require major audio editions. But sometimes the audio track needs to be synchronized with scenes or other tracks, such as music. Because of this, and in order to ensure high-quality results, a skilled audio or video editor supervises the recording process.

Furthermore, the translation of the script for voice-over tracks must beware of sentence length, since ideally, the target text should be of the same extension as the source text. If not, the translated audio may be longer than the original material, and the talent would need to read it with increased speed.

Voice and acting

Other audiovisual materials, like movies, series, video games, or advertising, need more detailed audio localization. In those cases, dubbing is a more appropriate solution, because its outcome enables immersion by recreating the original audio. An expert translator adapts the script, taking into account actors’ lip movements and line duration. Moreover, voice talents are actors or are specialized in dubbing. 

Given that the audio should be adapted to the actor’s expressions and actions on screen, dubbing implies a very thorough process of edition and revision. A reviewer checks the final product line by line to ensure the text fits perfectly into movements or scenes. 

Quality-driven

It may seem at plain sight that voice-over and dubbing services only involve recording sessions. But it’s actually a process that also entails localization and several instances of revision. For example, once translated, reviewers, check the script extensively before recording to avoid introducing errors in the voice track. Furthermore, audio editors revise the material and verify compliance with any technical requirements. And finally, the recording is checked for errors in pronunciation, syntax, or audio edition.

With all these factors in the scene, one thing is for sure. The right media localization solution combined with a quality-driven workflow will secure optimal translated content for the audience out there.

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The Toolbox for Subtitling. Male freelancer working on movie production
24/11/2020

The Toolbox for Subtitling

Posted on | by Marisol Pérez Laglaive | Leave a Comment on The Toolbox for Subtitling

Subtitling is a media localization solution that requires proficiency in two different fields. First, the text in the subtitle must be a linguistically correct and culturally accurate translation of the source audio or text.

With the purpose of delivering optimal subtitles, audiovisual translators and subtitlers can access resources to guide their jobs, such as software, specifications or reference materials. These are also quality assurance tools that guarantee that the delivered file is consistent, accurate and in agreement with all the client’s parameters and specifications. We’ll describe some of the resources that support audiovisual projects here.

1. Software

Reliable software is a key resource for subtitling. On one hand, it helps to automate several aspects of the job and, on the other, it’s a tool to ensure quality. Professional programs can be configured with parameters (such as line limit, reading speed, shot change preference) and they run QA analysis based on them. 

There are free software options, such as Aegisub, SubtitleEdit or Subtitle Workshop. Other programs must be purchased (by a one-time payment or a monthly subscription), like EZTitles, SubtitleNEXT or WinCAPs. Certain applications support more file formats than others, or handle more complex workflows. They synchronize subtitles to shot changes automatically, or they show the audio waveform. Others are lighter applications that don’t include these features. The choice depends on every need.

2. Guidelines

Technical and stylistic guidelines are the first touchstone for a consistent and accurate subtitling project. Depending on the transmission support (streaming platform, web pages, theaters, television, etc.), subtitles must have certain technical specifications, like length or aspect. Compliance with requested requirements is very important in subtitling, because it has consequences in layout, video aspect and reading.

 A complete project guide specifies the following preferences:

  • Subtitle type/style
  • Frame rate
  • Reading speed
  • Character limit
  • Shot change or audio wave compliance
  • Font and position

Also, style guidelines are a useful resource when translating or preparing the text of the subtitles, providing linguistic criteria of client’s preference. For instance, guides specify how to handle proper names and numbers, speaker’s IDs or audio in a foreign language. They also set preferences, if any, for punctuation, italics, or letter case. 

3. KNP and Query Sheets 

Another very common tool in subtitling projects are KNP (key names and phrases) sheets. They are online collaborative documents. In them, subtitlers write down proposed translations and information for characters’ names, places, institutions, catchphrases or any other relevant term in the series or movie. The team can also register if characters interact with formal or informal tone. This comes in very handy to translate dialogues while maintaining consistency. 

KNP sheets are widely used in projects where several providers work simultaneously in related material, because they promote consistency. Furthermore, this resource is helpful for data collection. The information is utilized to ensure consistent translation and treatment across other media localization products, such as dubbing, marketing materials or web content. For collaborative projects, query sheets are also useful. There, translators can ask each other questions or clarify doubts with clients.

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A Doorway to Subtitling Open or Closed. About Subtitling Types and Styles
10/08/2020

A Doorway to Subtitling: Open or Closed. About Subtitling Types and Styles

Posted on | by Marisol Pérez Laglaive | Leave a Comment on A Doorway to Subtitling: Open or Closed. About Subtitling Types and Styles

On the internet, we can watch a movie, read the news, explore endless options of items to purchase, order food and even take online courses, among countless other actions. We have access to that content (text, video, images, audio) across the globe because, in most cases, it is available in different languages. This is possible due to media localization, a process that not only involves the translation of text or audio but also other services, such as subtitling, graphic design, web design, audio recording, etc.

Specifically, for translating e-learning courses and audiovisual material, subtitling is a very common resource. But there are many types and styles of subtitling available when deciding how to translate content, depending on every need. The most important distinction is between closed captioning and open subtitling because their aspect, audience, and function are different.

Mindmap of subtitling services

1) Closed Captioning

Closed Captioning is a specific type of subtitle, an accessibility resource. Its function is, primarily, to make content available to people who have hearing impairments. In real-time captioning (used in live shows or news programs), online subtitlers create a caption of what is being said, so people can read it. They type and use dictation software or a stenography system. Also, it is possible to generate a caption file offline, with pre-recorded material.

Some of the Closed Caption characteristics are the following:

  • It includes sound effects, such as [laugh], [music], [thunder].
  • They can be turned on or off with remote control (in TV systems).
  • Audio language and text language are the same. 
  • It’s widely used in e-learning courses, streaming platforms, and TV.
  • Text is displayed on a black background.
  • It’s also useful where silence is required (in offices, waiting rooms) or as hearing support (to learn languages, bad audio quality).
Captioning Styles: Time Roll-Up, Pop-Up and Pop-Up On Placement

2) Open Subtitling

Open Subtitling is the most common type of subtitling, the one we can find in movies or programs in foreign languages. Its function is to translate source text and audio into another language.

However, SDH (Subtitles for the Deaf or Hard-of-Hearing) is a type of open subtitle that has another purpose. They have the same function as Closed Captioning but look like common subtitles.

The main characteristics of open subtitling are the following:

  • In traditional TV systems or theaters, subtitles cannot be turned off, because they are embedded in the video.
  • Subtitles are displayed without a contrasting background.
  • Audio language and text language are different: it’s a translation.
  • In SHD, audio and text language are the same.
  • SDH has sound effects and speakers’ identification.
A Doorway to Subtitling: Open or Closed. About Subtitling Types and Styles

Rules and Guidelines

Before working on a subtitling task, it’s important to know if the project has any technical parameters, as well as preferences about subtitling type and style, speakers’ IDs treatment, and letter case. 

Furthermore, subtitlers must comply with the specifications provided in customers’ style guides, if any, which set the style and technical expectations for the captioned or translated text.

As we can see, there are a lot of options when looking for a media localization solution. All of these promote inclusion while helping clients’ audiences expand one subtitle at a time.

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How the 2020 Boom in Streaming Affects Audiovisual Translation Needs
04/05/2020

How the 2020 Boom in Streaming Affects Audiovisual Translation Needs

Posted on | by Jacqueline De Marco | Leave a Comment on How the 2020 Boom in Streaming Affects Audiovisual Translation Needs

I stream, you stream, we all stream everything! Across the globe people have come together by staying apart in an effort to slow the spread of COVID-19. Social distancing can limit our entertainment options to ones we can find easily in the home which has led to an uptick in relying on streaming services to pass the time. Let’s take a quick look at why more people are streaming than ever before and how this affects audiovisual translation needs.

The Need to Stream

During past U.S. crises, we’ve seen television usage increase by 60%, according to Nielsen data. It’s no surprise that a crisis that has forced millions of people into their homes for extended periods of time is expected to increase that percentage. From television shows to movies to news broadcasts, entertainment as well as vital updates come straight from streaming services. Streaming was already on the rise before the pandemic and will likely remain that way after life resumes to normal. Before social distancing began, Americans consumed just shy of 12 hours of content each day through media platforms.

Global Content is a Must

Thanks to the massive success of foreign television programs and movies, like Academy Award-winning movie Parasite, consumers are becoming increasingly receptive to viewing foreign content. It’s fair to assume that with more and more time on our hands at home, viewers will be even more open to widening their horizons and exploring content from foreign creators. Due to cinema closures and film delays, experts are estimating that the film industry alone may experience $5 billion in losses. In order to increase revenue, content creators should consider upping their audiovisual translation game to cast as wide of a viewer net as possible for potential streaming purchases. 

Where Audiovisual Translation Comes In

Audiovisual translation helps transfer the verbal components of audiovisual works, such as movies and television programs, into another language. Theatrical plays, web pages, and video games also utilize audiovisual translation efforts. Audiovisual content is intended to be both seen and heard simultaneously, which brings unique translation challenges to the table. Not to mention, cultural references and wordplay often require a skilled translator to deliver the intended original meaning in a culturally correct context to the audience. Whether that be through subtitles or dubbed content. 

In order to best bridge the gap between not just languages, but cultures, entertainment producers will want to work with talented audiovisual translators who can help their story come to life clearly and appropriately for audiences who not only speak a different language, but who live in different cultures. To do so, they will want to work with a transcreator who can maintain the original message, context, and emotion of the source content. Transcreated content is customized to adapt to the culture, slang, and dialect of the target audience. Taking these extra steps can increase access to content across the globe, which is something that benefits everyone.

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Subtitling Challenges Cultural References and Wordplays
24/02/2020

Subtitling Challenges: Cultural References and Wordplays

Posted on | by Marisol Pérez Laglaive | Leave a Comment on Subtitling Challenges: Cultural References and Wordplays

Subtitling for streaming platforms implies translating content that will be distributed to a very large audience. For on-demand sites, Spanish subtitles are available globally, even in countries where it’s not an official language. Given that the target text should be understood by Spanish speakers across many countries, translating wordplays and cultural references is a task for skilled audiovisual translators only.

While this challenge may also be common to other localization tasks, translating subtitles has another specific and crucial characteristic. They are moving text that doesn’t stay long on the screen, and depending on the media (TV, cinema, on-demand platforms) they cannot be re-read. Thus, the translated text should be effective and as easy and fast to understand as possible.   

Cultural references: challenge accepted

Sometimes, dialogues refer to very specific aspects of the culture of origin of the show, such as cultural products, personalities, food, brands or institutions. Whether to localize them or not should be analyzed on a case-by-case basis. Leaving the reference as is or translating it literally may leave all the audience to not understand the reference, but adapting it may result in losing some of the original meaning. A skilled audiovisual translator will know which reference is better to leave unlocalized, and which is better to translate or adapt by choosing a similar but not equivalent referent in the target culture, among other available strategies. The translator will decide what is more effective and useful for each situation. Technical requirements are also a factor that can restrict the choice of the target text.

For a better understanding of what cultural references are and how they are treated in subtitles, we can analyze samples of some strategies, for example, in the Spanish LA subtitles of Mad Men’s pilot. 

Screenshot: Source text, Translations and Used Strategy in Mad Men.
Screenshot: Source text, Translations and Used Strategy in Mad Men.
Screenshot: Source text, Translations and Used Strategy in Mad Men.

Pun intended

Comedies take the challenge to another level because they are also full of puns and jokes that are difficult to recreate accurately in other languages. The translator of the subtitles has to choose between a literal translation or adapt the joke in the best way possible. Creativity plays a major part in the task, since the translator invents equivalent jokes or wordplays in the target language. Let’s consider one example from BoJack Horseman (S01E01).

Screenshot: Source text, Translations and Used Strategy in BoJack Horseman.

A matter of consistency

Regardless of the strategy used to translate cultural references and jokes, maintaining consistency across episodes is crucial. In large team projects, KNP sheets (key names and phrases) are a very common resource. There, the linguistic team can register proposed translations for names, cultural references or jokes, in order to maintain a consistent criterion.

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Behind the Scenes The Producer, The Director The Subtitler
13/01/2020

Behind the Scenes: The Producer, The Director… The Subtitler

Posted on | by Marisol Pérez Laglaive | Leave a Comment on Behind the Scenes: The Producer, The Director… The Subtitler

A Spanish-speaking audience lives in a world surrounded by translated content— from books to user manuals, websites to advertisements. The localization process that made these materials available is not always visible. But when watching a subtitled movie or a TV show, we take notice of the translation’s textual process because the source text (the audio) and the translation (the subtitles) are simultaneously present before us.  

Therefore, the job of audiovisual translators has salient visibility. Translating movie or TV show dialogue is subject to the same constraints of other localization tasks (semantic challenges, large volumes or tight deadlines). It also has specific technical requirements that only audiovisual translators master professionally. 

Common technical requirements: line limit and reading-speed limit

COMMON TECHNICAL REQUIREMENTS: LINE LIMIT AND READING-SPEED LIMIT

Sometimes the text in subtitles is not a literal translation or may seem shorter than the dialogue. This is mostly on account of two important requirements that restrict the translation of audiovisual products. The first is the line limit, which sets how many characters each line must have for a subtitle event. The range typically varies from 32 to 42 characters per line, therefore, a long sentence or idea must be rephrased in a shorter version. In this case, the audiovisual translator can choose either a shorter but non-literal translation that catches the core meaning of the original or they may crop some words out.

The second constraint on subtitling text is the reading speed limit. Generally, for a positive viewing experience, the reading speed is around 17 characters per second (CPS) for adult programs and 13 CPS for children programs with a flexibility of around 30 percent give or take. This can change according to the genre of the TV show. For example, in unscripted shows like reality TV, a higher value can be admitted such as 20 CPS because they tend to have faster dialogues.

Audio wave or shot change preferences

Depending on the clients’ requirements, subtitles must be synchronized (or “time coded”) to mirror the  exact length the dialogue lasts (so it’s time coded to match the audio) or to fit in scenes. Therefore, it’s preferable if subtitles begin to display when the scene starts and finish when there is a shot change. The sequence is more immersive and, hence, better for viewing experience. This practice is actually Netflix’s preference. 

These conditions may also restrict the task of translating. The linguist needs to catch the semantic and pragmatic meaning of the source text and also fit the subtitle according to the scene or the audio wave. 

Why hire professional audiovisual translators?

Considering these requirements (only a few of the specifications an audiovisual project may have), we can see that audiovisual translators master both creative and technical skills. In addition to the task of translating text, they have to be proficient in the software application they use to comply with all the requirements and deliver the highest quality in every project.

Some visual examples

Example of subtitling: 32 characters per line as limit.
Example of subtitling: 42 characters per line as limit.
Example of subtitling: Bad line break.

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