Welcome to our webinar

Introduction to

Audiovisual Translation

with Lindsay Bywood

12 March, 2014

www.ecpdwebinars.co.uk

How to interact with us

www.ecpdwebinars.co.uk

Lindsay Bywood

Studied German

Social work

Translator

Subtitler

Worked in languages for 16 years

Director of Business Development

PhD/Lecturer

© LINDSAY BYWOOD 2013

Roadmap

Modes of AVT

Translation in AVT

Workflows and the role of the translator

Accessibility

Getting a job

© LINDSAY BYWOOD 2013

5

Traditional misunderstanding

Medium and not genre

AVT importance

Easy reception & vast array of genres

Audiovisual Translation

6

Subtitling

Surtitling

Dubbing

Voiceover/lectoring (clip available)

AVT modes

7

Accessibility

Subtitling for the Deaf and the Hard-of-Hearing -SDH

Interlingual & intralingual

Audio Description for the Blind and the Partially Sighted - AD (clip available)

Audio Subtitling

Sign Language

Accessibility

Poll number one.

Poll number two.

Austria Belgium (Flanders)

Belgium (Wallonia) Bulgaria

Brazil Denmark

China Finland

Czech Republic Greece

France Iceland

Germany Netherlands

Hungary Norway

Italy Portugal

Japan Romania

Korea Slovenia

Slovakia Sweden

Spain

Turkey

9

Dubbing Subtitling

Russia

Estonia

Latvia

Lithuania

Poland

Ukraine

10

Voiceover/lectoring

Expensive Cheap

Slow Fast

Loss of original dialogue Respect of original dialogue

Pretence to be ‘domestic’ Promotes foreign languages

Better for (semi)illiterate, children Better for deaf and immigrants

Less reduction of text More reduction of text

More manipulation of original Difficult to manipulate

11

Dubbing Subtitling

Allows overlapping of voices Does not allow overlapping

Repetitive voices of dubbing actors Original voices maintained

Respect of original images Pollution of images

Viewer can concentrate on images Distracts from images

Promotes cinematic illusion Can detract from cinema illusion

Viewer can follow plot without watching Viewer needs to watch

Lip-sync Space and time synchrony

Oral > Oral Oral > Written

12

Dubbing Subtitling

© LINDSAY BYWOOD 2013

Origins

Illiteracy

Political repression

Economic factors

Custom and habit

Artistic and aesthetic value

Times are changing…

Subtitling = Fast and cheap

14

Why?

Poll number three

Subtitling

Mainly, but not exclusively, used in smaller language communities and communities with less money to spend on AVT.

Used extensively on the internet.

Reduction

Delivery of original

Reading speed

Change of medium

Oral to written

General characteristics

Spotting, cueing, timing, originating

Synchronisation

Frames per second

Timecodes (TCR)

6 second rule

Words per minute (wpm)

Characters per second (cps)

Shot changes

Gapbetweensubtitlessothattheycanberead

Temporal considerations

Subtitles ought to be semantically self-contained, when possible

Line breaks ought to consider syntax

Punctuation must be consistent throughout

Follow original order as close as possible

Linguistic considerations

Maximum exposure time: 6”

Minimum exposure time: 1”

Gap between subtitles: 2 frames

Maximum number of lines = 2 lines

Maximum line length = 39 characters

Technical considerations

Wincaps demo

Other software:SwiftEztitlesFABSpot

Free software – Subtitle Workshop

© LINDSAY BYWOOD 2013

Dubbing

No reduction

Delivery of original

No change of medium

Oral to oral

General characteristics

Dubbing process

PM logs & distributes schedule & material

Team selected

Creation

of translation & adaptation

Recording & mixing Technical QC

PM logs delivered files

Delivery

of end format

Translation process in more detail:

Translator translates, taking into account length and phrasing.

Lip-sync adaptor, not necessarily same person, adapts for lip sync.

Different territories have different standards for lip sync.

Dubbing process

Voice-over

Two types of voice-over

Corporate/training/information/documentary

Voice-over for broadcast in specific territories

Translator’s roleTranslate

Adapt for length

Read back with video

Spoken language is not the same as written language!

AccessibilitySubtitling for the Deaf and the Hard-of-Hearing -SDH

Interlingual & intralingual

Audio Description for the Blind and the Partially Sighted - AD

Audio Subtitling

Sign Language

Main differences between translation subtitling and subtitling for the Deaf and hard-of-hearing

Usually same language

Speaker labels

Sound effects and music

Still often created by translators/subtitlers

(but often respoken)

More than two lines acceptable

SDH – speakers

SDH – speakers

SDH – noises

SDH – music

Audio descriptionFor the blind and partially sighted

Also used in museums and other locations

Available on DVDs and in the cinema

The negative of subtitling

Audio describers write their scripts and record them

Sign language

Working in AVTSubtitling

Dubbing

Voice-over

SDH subtitling

Audio description

Sign language

Courses in the UK

Webinar: Introduction to subtitling

Short courses: UCL, University of Roehampton, other universities who offer AVT Masters’ courses

Conference workshops:

Media for All

Languages & The Media

ITI and CIOL training

Two basic resources

Chaume, F (2012). Audiovisual Translation: Dubbing. Manchester: St Jerome.

Díaz Cintas, J and Remael, A (2007). Audiovisual Translation: Subtitling. Manchester: St. Jerome.

Thank you!

Any questions?

Lindsay.Bywood.13@ucl.ac.uk