Numerous individuals within the United States who indulge in foreign cinema find solace in the presence of subtitled text on the screen, as it facilitates their comprehension of the film's content. However, it's worth noting that numerous films and various forms of programming also incorporate dubbing. Dubbing involves the recording of dialogue in a different language, which is then either superimposed or used in lieu of the original actor's speech. This approach grants viewers the ability to grasp the film's narrative without the necessity of reading subtitles. This method is preferred over subtitles in numerous countries and by a considerable number of viewers. Our clients often opt to dub their original English programming into various other languages, thereby expanding their audience globally.
I frequently encounter inquiries regarding the individuals responsible for orchestrating the entire voice dubbing process, and a multitude of questions arise pertaining to the role of the director. The team engaged in voice-over dubbing typically comprises a director, talented voice actors, an engineer, a producer, and often, the client themselves. Prior to the recording session, the native director undertakes a comprehensive review of the material. This involves identifying sections within the script that might pose challenges and bringing attention to these aspects before the recording commences. The producer is thoroughly briefed on the project's nuances and expectations, subsequently assuming the role of session facilitator alongside the director.
The talented voice actors are the individuals tasked with delivering the voice-over performances. The director wields authority over the script, ensuring that the guidelines are lucid for the voice actors and the engineer. Additionally, the director serves as an intermediary in translating interactions between the producer, client, and the voice actors, particularly if the voice actors are not proficient in English. The director is entrusted with guaranteeing that the voice actors deliver lines with precision, encompassing proper intonation, pronunciation, articulation of specific words, and accurate rendering of proper nouns, all while preserving the essence of the original language's style. The director might propose alterations to the script, rectify any mistakes made by the voice actors, and offer suggestions for re-reads should the producer or client seek a distinct interpretation.
Essentially, the director's role is pivotal in upholding the caliber of the voice-over, as their familiarity with the original language is crucial. This collaborative ensemble functions as a cohesive unit to generate top-tier dubbing, whether it's for full-length features, corporate training videos, promotional content, educational series, and more.
Looking for voice dubbing services, captioning, or file delivery services? Click here to send us a note as to how AberLingo, Aberdeen Broadcast Services' Languages department, might be able to help you.
The statistics are astounding: 42 million American adults are illiterate and 50 million are unable to read higher than a 4th-grade reading level. Studies show that frequent reading improves reading proficiency, although sadly, according to the “Washington Post,” only one in four Americans actually read a book in the past year. Instead of reading books, the average child in America watches 20 hours of TV each week. How do we remedy this ongoing problem? What if watching television could actually improve literacy?
According to studies conducted in Finland, it can! Children in Finland watch as much TV as Americans and even attend school less. Yet, they rank higher in educational achievement and literacy. Jim Trelease states in “The Read-Aloud Handbook” that Finland’s high test scores are due to their use of closed captions. Children in Finland want to watch American sitcoms but are only able to understand them by watching the Finnish words at the bottom of the screen. Therefore, they must read to watch!
Victoria Winterhalter Brame conducted her own study after reading Trealease’s book. In her article “TV that Teaches: Using Closed Captions,” she writes about introducing her daughter to closed captioning at a young age and that once her daughter started Kindergarten, she began to recognize her vocabulary words on the screen while watching television.
Perhaps there is a simple solution to this nationwide problem of illiteracy and reading deficiency: turn on the closed- captions!
One of the number-one questions I get from prospective clients or even friends is the question: What is the difference between roll-up captioning, pop-on captioning, and subtitling? Also, people often think that captioning is the same thing as subtitling, which it isn't. To take this question even further, I will explain in what cases each one is ideally used.*
Captioning VS. Subtitling
Captioning was created so deaf or hard-of-hearing viewers could read along to TV shows. A technology needed to be created that was accessible to the deaf viewer, but not obligatory for hearing viewers. So today, closed captioning is decoded by a decoder chip in the television and it must be activated to view. Captions are white letters with a black background. The font looks similar to Courier New.
Subtitling, on the other hand, was originally created so viewers of programming in a language other than their own could read along in their own language. Unlike captions, subtitles cannot be turned on or off through a TV decoder chip. They are burned on the video. If you are watching subtitles on a DVD or Blu-ray Disc, they can be turned on or off through the menu. Subtitles can be different fonts or colors and usually do not have a black or transparent background.
Roll-up Captioning
What is it?
Roll-up captions scroll up the screen line by line usually two to three lines at a time. It is the most basic form of captioning, as it usually does not include extensive sound effect description nor speaker identification.
When is it used?
Roll-up captioning is mainly used for ALL live programming and for post-production broadcast programming that only has one speaker (not very common).
For an example of roll-up captioning, view the video on this page: roll-up video
Pop-On Captioning
What is it?
Pop-on captions pop on and off the screen one caption at a time. They typically look like a square box and each caption usually consists of two to three lines. Pop-on captions should include sound effect descriptions as well as movement for speaker identification.
When is it used?
Pop-on captions should be used for pre-recorded broadcast programming with multiple speakers.
For an example of pop-on captioning view the video on this page: pop-on video
Subtitling
What is it?
Subtitles pop on and off the screen just like pop-on captions but they typically do not have a black background and can be any font and color.
When is it used?
Subtitles should always be used for DVD and Blu-ray Discs as they can be turned on and off through the menu. They should also be used for broadcasts in countries where the programming is of a language other than the country's primary language.
For an example of subtitles view the video on this page: subtitling video
*Please note that this article's aim is to be a general explanation for the person that has no prior knowledge of the topic. It does not go into depth on the technical differences between captioning and subtitling. I specifically talk about captions for broadcasting and not other purposes like online video, et cetera. When I speak about captioning, I am referring to Line 21 (analog) captioning, not captioning for HD.
Since Blu-ray has largely become accepted as the new HD disc format standard, there have been many inquiries about closed captioning and subtitling for Blu-ray Discs (BD).
To set the record straight, Blu-ray does not support traditional closed captioning. This is for a practical reason: subtitles on Blu-ray can be easily turned on and off through the disc's menu, just like with standard DVDs. Consequently, BD does not support Line 21, the traditional format for analog closed captions, because it adheres to modern High-Definition Multimedia Interface (HDMI) specifications. These specs were designed to replace older digital and analog standards.
Converting SD Captions to HD Subtitles
If you're looking to transfer a DVD or any other standard-definition video to Blu-ray Disc, you might be concerned about the need to recreate subtitles. Fortunately, your closed captioning company can convert your existing caption files into Blu-ray-compatible subtitles for your authoring system. This might require some reformatting depending on the original captioning method used.
Enhanced Features of Blu-ray Subtitles
Blu-ray subtitles offer several advanced features compared to standard SD subtitles. Unlike SD subtitles, which are limited to a single font type, size, and color, Blu-ray allows for much greater flexibility. With Blu-ray, it’s possible to create multiple layers of subtitles, incorporating up to six different colors, fonts, and sizes. This means you can vary the appearance of subtitles for on-screen signs or dialogue, enhancing speaker identification and enriching the viewer’s experience. It’s even possible to make sound effects stand out from dialogue, turning basic subtitles into a visually engaging component of your media.
File Types for Blu-ray Subtitling
The file type for Blu-ray subtitles is an XML-based textual format accompanied by images (JPEG) of each subtitle. This is similar to the system used in DVD authoring, where the XML file serves as a directory, dictating the placement and timing of each subtitle image on the screen.
This past week, I felt how important time code was when authoring captions and subtitles to DVD and Blu-ray Disc authoring systems. Consistency is the name of the game. As a producer, editor, DVD authoring person, et cetera, you must be sure that the video your captioning company receives from the onset of the project, has the final time code.
Ask yourself some questions: Is the first frame of the video the same timecode on all video versions? Does the first spoken word start at the same time code? Does the last frame of the video end at the same time code? Am I authoring in drop, non-drop, FILM, et cetera? Pick one and stick with it for the entire project. The standard time code for authoring systems is drop (29.97 fps) and I recommend that you use this from the onset of the process. Your editing system may have a different default time code than your authoring system, so make sure they are the same. Have any edits been made from the initial video you gave your captioning company? Minor edits will affect the captioning or subtitling in a major way.
You may be wondering what the big deal is and why it isn’t simple for the captioning company to adjust. It’s just simply trying to coordinate changes, especially if we don’t know what is differences are between files. Sometimes it is an easy re-ripple of time code or a conversion from drop to non-drop time code. Sometimes, the final videos are so different that the time spent re-sending new captioning and subtitle files can be as laborious as actually creating them in the first place. The time it takes for the authoring person to re-render and check new files over and over again is time taken away from the final delivery of the authored DVD or Blu-ray Disc. The bottom line is this—send your captioning company the real deal the first time around.
Subtitles differ from closed captions by the way they are presented on the screen. Words appear in upper and lower case letters and can appear in various colors and fonts. Subtitles may be in English or any other language. On tape, subtitles are burned into the video and appear at all times. On a DVD, subtitles are able to be turned on or off through the DVD menu.
Translated subtitles require a skilled blend of translation and editing supported by state-of-the-art technology.
To ensure accurate translations, subtitling providers should employ native speakers who either live in or regularly return to their country of origin to maintain fluency in the respective languages. Be sure to ask the company you are contracting with if they always use native speakers.
It takes far longer to read than to listen, therefore each translation should be carefully edited, providing a comfortable reading speed for the viewer while maintaining the meaning and impact of the programming. There are many different subtitling guidelines out there, but at a bare minimum proper names, technical jargon and industry terms should be researched by the translator to ensure proper spelling and connotation. If you need something subtitled, be sure to provide the subtitling company with a list of technical jargon, terms, scripts, lexicon, et cetera, to ensure that the translator has the needed information to create an errorless translation conveying your program's meaning to its target audience.
