Introduction to Audiovisual Translation - eCPD Webinars · PDF fileIntroduction to Audiovisual...
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Welcome to our webinar Introduction to Audiovisual Translation with Lindsay Bywood 12 March, 2014 www.ecpdwebinars.co.uk
Transcript of Introduction to Audiovisual Translation - eCPD Webinars · PDF fileIntroduction to Audiovisual...
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
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Traditional misunderstanding
Medium and not genre
AVT importance
Easy reception & vast array of genres
Audiovisual Translation
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Subtitling
Surtitling
Dubbing
Voiceover/lectoring (clip available)
AVT modes
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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
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Dubbing Subtitling
Russia
Estonia
Latvia
Lithuania
Poland
Ukraine
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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
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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
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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
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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.
