| Part of a series on |
| Translation |
|---|
| Types |
| Language interpretation Legal · Literal · Technical |
| Techniques |
| Computer-assisted Machine · Subtitling Postediting |
| Related topics |
| Transcription Transliteration Language barrier Video Relay Service Telephone interpreting |
Subtitles are textual versions of the dialog in films and television programs, usually displayed at the bottom of the screen. They can either be a form of written translation of a dialog in a foreign language, or a written rendering of the dialog in the same language, with or without added information to help viewers who are deaf and hard-of-hearing to follow the dialog, or people who cannot understand the spoken dialogue or who have accent recognition problems. Television teletext subtitles, which are hidden unless requested by the viewer from a menu or by selecting the relevant teletext page (e.g., p. 888), always carry additional sound representations for deaf and hard of hearing viewers. Teletext subtitle language follows the original audio, except in multi-lingual countries where the broadcaster may provide subtitles in additional languages on other teletext pages.
Sometimes, mainly at film festivals, subtitles may be shown on a separate display below the screen, thus saving the film-maker from creating a subtitled copy for perhaps just one showing. Television subtitling for the deaf and hard-of-hearing is also referred to as closed captioning in some countries. More exceptional uses also include operas, such as Verdi's Aida, where sung lyrics in Italian are subtitled in English or in another local language outside the stage area on luminous screens for the audience to follow the storyline.
Contents |
Today professional subtitlers usually work with specialized computer software and hardware where the video is digitally stored on a hard disk, making each individual frame instantly accessible. Besides creating the subtitles, the subtitler usually also tells the computer software the exact positions where each subtitle should appear and disappear. For cinema film, this task is traditionally done by separate technicians. The end result is a subtitle file containing the actual subtitles as well as position markers indicating where each subtitle should appear and disappear. These markers are usually based on timecode if it is a work for electronic media (e.g., TV, video, DVD), or on film length (measured in feet and frames) if the subtitles are to be used for traditional cinema film.
The finished subtitle file is used to add the subtitles to the picture, either :
Subtitles can also be created by individuals using freely-available subtitle-creation software like Subtitle Workshop for Windows, MovieCaptioner for the Mac and Subtitle Composer for Linux, and then hardcode them onto a video file with programs such as VirtualDub in combination with VSFilter which could also be used to show subtitles as softsubs in many software video players.
For multimedia-style Webcasting, check:
Same language captions, i.e., without translation, were primarily intended as an aid for people who are deaf or hard-of-hearing. Internationally, there are several major studies which demonstrate that same-language-captioning can have a major impact on literacy and reading growth across a broad range of reading abilities.[1][2] This method of subtitling is used by national television broadcasters in China and in India such as Doordarshan. This idea was struck upon by Brij Kothari, who believed that SLS makes reading practice an incidental, automatic, and subconscious part of popular TV entertainment, at a low per-person cost to shore up literacy rates in India.
Same Language Subtitling (SLS) is the use of Synchronized Captioning of Musical Lyrics (or any text with an Audio/Video/ source) as a Repeated Reading activity. The basic reading activity involves students viewing a short subtitled presentation projected onscreen, while completing a response worksheet. To be really effective, the subtitling should have high quality synchronization of audio and text, and better yet, subtitling should change color in syllabic synchronization to audio model, and the text should be at a level to challenge students' language abilities.[3][4]
Closed captioning is the American term for closed subtitles specifically intended for people who are deaf and hard-of-hearing. These are a transcription rather than a translation, and usually contain descriptions of important non-dialog audio as well such as "(sighs)" or "(door creaks)". From the expression "closed captions" the word "caption" has in recent years come to mean a subtitle intended for the hard of hearing, be it "open" or "closed". In British English "subtitles" usually refers to subtitles for the hard-of-hearing (HoH); however, the term "HoH subtitles" is sometimes used when there is a need to make a distinction between the two.
Programs such as news bulletins, current affairs programs, sport, some talk shows and political and special events utilize realtime or online captioning.[5] Live captioning is increasingly common, especially in the United Kingdom and the United States, as a result of regulations that stipulate that virtually all TV eventually must be accessible for people who are deaf and hard–of–hearing.[6]
Some programs may be prepared in their entirety several hours before broadcast, but with insufficient time to prepare a timecoded caption file for automatic play-out. Pre-prepared captions look very similar to offline captions, although the accuracy of cueing may be compromised slightly as the captions are not locked to program timecode.[5]
Newsroom captioning involves the automatic transfer of text from the newsroom computer system to a device which outputs it as captions. It does work, but its suitability as an exclusive system would only apply to programs which had been scripted in their entirety on the newsroom computer system, such as short interstitial updates.[5]
In the United States and Canada, some broadcasters have used it exclusively and simply left uncaptioned sections of the bulletin for which a script was unavailable.[5] Newsroom captioning limits captions to pre-scripted materials and, therefore, does not cover 100% of the news, weather and sports segments of a typical local news broadcast which are typically not pre-scripted, last second breaking news or changes to the scripts, ad lib conversations of the broadcasters, emergency or other live remote broadcasts by reporters in-the-field. By failing to cover items such as these, newsroom style captioning (or use of the Teleprompter for captioning) typically results in coverage of less than 30% of a local news broadcast.[7]
Communication Access Real-Time Translation (CART) stenographers, who use a computer with using either stenotype or Velotype keyboards to transcribe stenographic input for presentation as captions within 2–3 seconds of the representing audio, must caption anything which is purely live and unscripted,[5] however, the most recent developments include operators using speech recognition software and revoicing the dialog. Speech recognition technology has advanced so quickly in the United Kingdom that about 50% of all live captioning is through speech recognition as of 2005. Realtime captions look different from offline captions, as they are presented as a continuous flow of text as people speak.[5]
Realtime stenographers are the most highly skilled in their profession. Stenography is a system of rendering words phonetically, and English, with its multitude of homophones (e.g., there, their, they’re), is particularly unsuited to easy transcriptions. Stenographers working in courts and inquiries usually have 24 hours in which to deliver their transcripts. Consequently they may enter the same phonetic stenographic codes for a variety of homophones, and fix up the spelling later. Realtime stenographers must deliver their transcriptions accurately and immediately. They must therefore develop techniques for keying homophones differently, and be unswayed by the pressures of delivering accurate product on immediate demand.[5]
Submissions to recent captioning-related inquiries have revealed concerns from broadcasters about captioning sports. Captioning sports may also affect many different people because of the weather outside of it. In much sport captioning's absence, the Australian Caption Centre submitted to the National Working Party on Captioning (NWPC), in November 1998, three examples of sport captioning, each performed on tennis, rugby league and swimming programs:
The NWPC concluded that the standard they accept is the comprehensive realtime method, which gives them access to the commentary in its entirety. Also, not all sports are live. Many events are pre-recorded hours before they are broadcast, allowing them a captioner to caption them using offline methods.[5]
Because different programs are produced under different conditions, a case-by-case basis must consequently determine captioning methodology. Some bulletins may have a high incidence of truly live material, or insufficient access to video feeds and scripts may be provided to the captioning facility, making stenography unavoidable. Other bulletins may be pre-recorded just before going to air, making pre-prepared text preferable.[5]
In Australia and the United Kingdom, hybrid methodologies have proven to be the best way to provide comprehensive, accurate and cost-effective captions on news and current affairs programs. News captioning applications currently available are designed to accept text from a variety of inputs: stenography, Velotype, QWERTY, ASCII import, and the newsroom computer. This allows one facility to handle a variety of online captioning requirements and to ensure that captioners properly caption all programs.[5]
Current affairs programs usually require stenographic assistance. Even though the segments which comprise a current affairs program may be produced in advance, they are usually done so just before on-air time and their duration makes QWERTY input of text unfeasible.[5]
News bulletins, on the other hand can often be captioned without stenographic input (unless there are live crosses or ad-libbing by the presenters). This is because:
For non-live, or pre-recorded programs, television program providers can choose offline captioning. Captioners gear offline captioning toward the high-end television industry, providing highly customized captioning features, such as pop-on style captions, specialized screen placement, speaker identifications, italics, special characters, and sound effects.[8]
Offline captioning involves a five-step design and editing process, and does much more than simply display the text of a program. Offline captioning helps the viewer follow a story line, become aware of mood and feeling, and allows them to fully enjoy the entire viewing experience. Offline captioning is the preferred presentation style for entertainment-type programming.[8]
"SDH" is an American term the DVD industry introduced. It is an acronym for "Subtitles for the deaf and hard-of-hearing", and refers to regular subtitles in the original language where important non-dialog audio has been added, as well as speaker identification, useful when the viewer cannot otherwise visually tell who is saying what.
The only significant difference for the user between "SDH" subtitles and "closed captions" is their appearance: SDH subtitles usually are displayed with the same proportional font used for the translation subtitles on the DVD; however, closed captions are displayed as white text on a black band, which blocks a large portion of the view. Closed captioning is falling out of favor as many users have no difficulty reading SDH subtitles, which are text with contrast outline. In addition, DVD subtitles can specify many colors, on the same character: primary, outline, shadow, and background. This allows subtitlers to display subtitles on a usually translucent band for easier reading; however, this is rare, since most subtitles use an outline and shadow instead, in order to block a smaller portion of the picture. Closed captions may still supersede DVD subtitles, since many SDH subtitles present all of the text centered, while closed captions usually specify position on the screen: centered, left align, right align, top, etc. This is very helpful for speaker identification and overlapping conversation. Some SDH subtitles (such as the subtitles of newer Universal Studios DVDs/Blu-ray Discs) do have positioning, but it is not as common.
DVDs for the U.S. market now sometimes have three forms of English subtitles: SDH subtitles, English subtitles, helpful for viewers who are Hearing and whose first language may not be English (although they are usually an exact transcript and not edited into Simple English), and closed caption data that is decoded by the end-user's closed caption decoder. Most anime releases in the U.S. only include as subtitles translations of the original material; therefore, SDH subtitles of English dubs ("dubtitles") are uncommon. [9][10]
High-definition disc media (HD DVD, Blu-ray Disc) uses SDH subtitles as the sole method because technical specifications do not require HD to support line 21 closed captions. Some Blu-ray Discs, however, are said to carry a closed caption stream that only displays through standard-definition connections. Many HDTVs allow the end–user to customize the captions, including the ability to remove the black band.
Although same-language subtitles and captions are produced primarily with the deaf and hard-of-hearing in mind, many hearing film and television viewers choose to use them. This is often done because the presence of closed captioning and subtitles ensures that not one word of dialogue will be missed. Bars and other noisy public places often make closed captions visible for patrons where dialogue would otherwise be drowned out. Films and television shows often have subtitles displayed in the same language, if the speaker has a speech impairment. In addition, captions may further reveal information that would be difficult to pick up on otherwise. Some examples of this would be the song lyrics; dialog spoken quietly or by those with accents unfamiliar to the intended audience; or supportive, minor dialog from background characters. It is argued that such additional information and detail will enhance the overall experience and allow the viewer a better grasp on the material. Furthermore, people learning a foreign language may sometimes use same-language subtitles to better understand the dialog while not having to resort to a translation.
In some Asian television programming, captioning is considered a part of the genre, and has evolved beyond simply capturing what is being said. The captions are used artistically; it is common to see the words appear one by one as they are spoken, in a multitude of fonts, colors, and sizes that capture the spirit of what is being said. Languages like Japanese also have a rich vocabulary of onomatopoeia which are used in captioning.
In some East Asian countries, such as China, Korea and Japan, subtitling is common in some genres of television. In these languages, written text is less ambiguous than spoken text, so subtitling may offer a distinct advantage to aid comprehension. Although people in China generally speak Putonghua, the standard spoken language, different speakers have different accents due to their native dialects and subtitles bridge this gap (even though most programmes are in Putonghua) as most Chinese speakers understand the one standard form of written Chinese. Subtitling is also common in taped interviews during news broadcasts, as accents in East Asian languages can be difficult to understand by those unfamiliar with them.
In India, Same Language Subtitling (SLS) are common for films and music videos. SLS refers to the idea of subtitling in the same language as the audio. SLS is highlighted karaoke style, that is, to speech. The idea of SLS was initiated to shore up literacy rates as SLS makes reading practice an incidental, automatic, and subconscious part of popular TV entertainment. This idea was well received by the Government of India which now uses SLS on several national channels, including Doordarshan.[1][2]
Subtitles can be used to translate dialog from a foreign language to the native language of the audience. It is the quickest and the cheapest method of translating content, and is usually praised for the possibility to hear the original dialog and voices of the actors.
Translation of subtitling is sometimes very different from the translation of written text. Usually, when a film or a TV program is subtitled, the subtitler watches the picture and listens to the audio sentence by sentence. The subtitler may or may not have access to a written transcript of the dialog. Especially in commercial subtitles, the subtitler often interprets what is meant, rather than translating how it is said, i.e. meaning being more important than form. The audience does not always appreciate this, and it can be frustrating to those who know some of the spoken language, because spoken language may contain verbal padding or culturally implied meanings, in confusing words, if not adapted in the written subtitles. The subtitler does this when the dialog must be condensed in order to achieve an acceptable reading speed. i.e. purpose being more important than form.
Especially in fansubs, the subtitler may translate both form and meaning. The subtitler may also choose to display a note in the subtitles, usually in parentheses (“(” and “)”) or as a separate block of on-screen text. This allows the subtitler to preserve form and achieve an acceptable reading speed, by leaving the note on the screen, even after the character has finished speaking, to both preserve form and allow for understanding. For example, the Japanese language has multiple first-person pronouns (see Japanese pronouns), and using one instead of another implies a different degree of politeness. In order to compensate, when translating to English, the subtitler may reformulate the sentence, add appropriate words and/or use notes.
Realtime translation subtitling, usually involving simultaneous interpreter listening to the dialog quickly translating, while a stenographer types, is rare. The unavoidable delay, typing errors, lack of editing, and high costs regard very little need for translation subtitling. Allowing the interpreter to directly speak to the viewers is usually both cheaper and quicker, however, the translation is not accessible to people who are deaf and hard–of–hearing.
Some subtitlers purposely provide edited subtitles or captions, to match the needs of their audience, for learners of the spoken dialog as a second or foreign language, visual learners, beginning readers who are deaf or hard-of-hearing and for people with learning and/or mental disabilities. For example, for many of its films and television programs, PBS displays standard captions representing speech the program audio, word-for-word, if the viewer selects "CC1", by using the television remote control or on-screen menu, however, they also provide edited captions to present simplified sentences at a slower rate, if the viewer selects "CC2". Programs with a very diverse audience also often have captions in another language. This is common with popular Latin American soap operas in Spanish. Since CC1 and CC2 share bandwidth, the Federal Communications Commission (FCC) recommends translation subtitles be placed in CC3. CC4, which shares bandwidth with CC3, is also available, but programs very seldom use it.
The two alternative methods of 'translating' films in a foreign language are dubbing, in which other actors record over the voices of the original actors in a different language, and lectoring, a form of voice-over for fictional material where a narrator tells the audience what the actors are saying while their voices can be heard in the background. Lectoring is common for television in Russia, Poland, and a few other East European countries, while cinemas in these countries commonly show films dubbed or subtitled.
The preference for dubbing or subtitling in various countries is largely based on decisions taken in the late 1920s and early 1930s. With the arrival of sound film, the film importers in Germany, Italy, France and Spain decided to dub the foreign voices, while the rest of Europe elected to display the dialog as translated subtitles. The choice was largely due to financial reasons (subtitling is inexpensive and quick, while dubbing is very expensive and thus requires a very large audience to justify the cost), but during the 1930s it also became a political preference in Germany, Italy and Spain; an expedient form of censorship that ensured that foreign views and ideas could be stopped from reaching the local audience, as dubbing makes it possible to create a dialogue which is totally different from the original.
Dubbing is still the norm and favored form in these four countries, but the proportion of subtitling is slowly growing, mainly to save cost and turnaround-time, but also due to a growing acceptance among younger generations, who are better readers and increasingly have a basic knowledge of English (the dominant language in film and TV) and thus prefer to hear the original dialogue.
Nevertheless, in Spain, for example, only public TV channels show subtitled foreign films, usually at late night. It is extremely rare that any Spanish TV channel shows subtitled versions of TV programs, series or documentaries. In addition, only a small proportion of cinemas show subtitled films. Films with dialogue in Galician, Catalan or Basque are always dubbed, not subtitled, when they are shown in the rest of the country. Some non-Spanish-speaking TV stations subtitle interviews in Spanish; others do not.
In many Latin American countries, local network television will show dubbed versions of English-language programs and movies, while cable stations (often international) more commonly broadcast subtitled material. Preference for subtitles or dubbing varies according to individual taste and reading ability, and theaters may order two prints of the most popular films, allowing moviegoers to choose between dubbing or subtitles. Animation and children's programming, however, is nearly universally dubbed, as in other regions.
Since the introduction of the DVD, some high budget films include the simultaneous option of both subtitles and/or dubbing. Often in such cases, the translations are made separately, rather than the subtitles being a verbatim transcript of the dubbed scenes of the film. While this allows for the smoothest possible flow of the subtitles, it can be frustrating for someone attempting to learn a foreign language.
In the traditional subtitling countries, dubbing is generally regarded as something very strange and unnatural and is only used for animated films and TV programs intended for pre-school children. As animated films are "dubbed" even in their original language and ambient noise and effects are usually recorded on a separate sound track, dubbing a low quality production into a second language produces little or no noticeable effect on the viewing experience. In dubbed live-action television or film, however, viewers are often distracted by the fact that the audio does not match the actors' lip movements. Furthermore, the dubbed voices may seem detached, inappropriate for the character, or overly expressive, and some ambient sounds may not be transferred to the dubbed track, creating a less enjoyable viewing experience.
In several countries or regions nearly all foreign language TV programs are subtitled, instead of dubbed, notably in:
It is also common that television services in minority languages subtitle their programmes in the dominating language as well. Examples include the Welsh S4C and Irish TG4 who subtitle in English and the Swedish FST5 in Finland who subtitle in the majority language Finnish.
In Wallonia (Belgium) films are usually dubbed, but sometimes they are played on two channels at the same time: one dubbed (on La Une) and the other subtitled (on La Deux), but this is no longer done as frequently due to low ratings.
In Australia, one FTA network, SBS airs its foreign-language shows subtitled in English.
Subtitles in the same language on the same production can be in different categories:
Subtitles exist in two forms; open subtitles are 'open to all' and cannot be turned off by the viewer; closed subtitles are designed for a certain group of viewers, and can usually be turned on/off or selected by the viewer - examples being teletext pages, US Closed captions (608/708), DVB Bitmap subtitles, DVD/Blu-ray subtitles.
While distributing content, subtitles can appear in one of 3 types:
In other categorization, digital video subtitles are sometimes called internal, if they are embedded in a single video file container along with video and audio streams, and external if they are distributed as separate file (that is less convenient, but it is easier to edit/change such file).
| Feature | Hard | Prerendered | Soft |
|---|---|---|---|
| Can be turned off/on | No | Yes | Yes |
| Multiple subtitle variants (for example, languages) | Yes, though all displayed at the same time | Yes | Yes |
| Editable | No | Difficult, but possible | Yes |
| Player requirements | None | Majority of players support DVD subtitles | Usually requires installation of special software, unless national regulators mandate its distribution |
| Visual appearance, colors, font quality | Low to High, depends on video resolution/compression | Low | Low to High, depends on player and subtitle file format |
| Transitions, karaoke and other special effects | Highest | Low | Depends on player and subtitle file format, but generally poor |
| Distribution | Inside original video | Separate low-bitrate video stream, commonly multiplexed | Relatively small subtitle file or instructions stream, multiplexed or separate |
| Additional overhead | None, though subtitles added by re-encoding of the original video may degrade overall image quality, and the sharp edges of text may introduce artifacts in surrounding video | High | Low |
| Name | Extension | Type | Text Styling | Metadata | Timings | Timing Precision |
|---|---|---|---|---|---|---|
| AQTitle | .aqt | Text | No | No | Framings | Dependent on Frame |
| JACOSub [1] | .jss | Text | Yes | No | Elapsed Time | 10 Milliseconds |
| MicroDVD | .sub | Text | No | No | Framings | Dependent on Frame |
| MPEG-4 Timed Text | .ttxt (or mixed with A/V stream) | XML | Yes | No | Elapsed Time | 1 Millisecond |
| MPSub | .sub | Text | No | Yes | Sequential Time | 10 Milliseconds |
| Ogg Writ | N/A (mixed with audio/video stream) | Text | Yes | Yes | Sequential Granules | Dependent on Bitstream |
| Phoenix Subtitle | .pjs | Text | No | No | Framings | Dependent on Frame |
| PowerDivX | .psb | Text | No | No | Elapsed Time | 1 Second |
| RealText [2] | .rt | HTML | Yes | No | Elapsed Time | 10 Milliseconds |
| SAMI | .smi | HTML | Yes | Yes | Framings | Dependent on Frame |
| Structured Subtitle Format | .ssf | XML | Yes | Yes | Elapsed Time | 1 Millisecond |
| SubRip | .srt | Text | No | No | Elapsed Time | 1 Millisecond |
| Gloss Subtitle | .gsub | HTML/XML | Yes | Yes | Elapsed Time | 10 Milliseconds |
| (Advanced) SubStation Alpha | .ssa or .ass (advanced) | Text | Yes | Yes | Elapsed Time | 10 Milliseconds |
| SubViewer | .sub | Text | No | Yes | Elapsed Time | 10 Milliseconds |
| Universal Subtitle Format | .usf | XML | Yes | Yes | Elapsed Time | 1 Millisecond |
| VobSub | .sub + .idx | Image | N/A | N/A | Elapsed Time | 1 Millisecond |
| XSUB | N/A (embedded in .divx container) | Image | N/A | N/A | Elapsed Time | 1 Millisecond |
| Spruce subtitle format [3] | .stl | Text | Yes | Yes | Sequential Time+Frames | Sequential Time+Frames |
There are still many more uncommon formats. Most of them are text-based and have the extension .txt.
For cinema movies shown in a theatre:
For movies on DVD Video:
For TV broadcast:
Subtitles created for TV broadcast are stored in a variety of file formats. The majority of these formats are proprietary to the vendors of subtitle insertion systems.
Broadcast subtitle formats include:
.XIF .X32 .PAC .RAC .CHK .AYA .890 .CIP .CAP .ULT .USF .CIN .L32 .ST4 .ST7 .TIT .STL
The EBU format defined by Technical Reference 3264-E [11] is an 'open' format intended for subtitle exchange between broadcasters. Files in this format have the extension .stl (not to be mixed up with text "Spruce subtitle format" mentioned above, which also has extension .stl)
For internet delivery:
The Timed Text format currently a "Candidate Recommendation" of the W3C (called DFXP[12]) is also proposed as an 'open' format for subtitle exchange and distribution to media players, such as Microsoft Silverlight.
Most times, a foreign language is spoken in film, subtitles are used to translate the dialogue for the viewer. However, there are occasions when foreign dialogue is left unsubtitled (and thus incomprehensible to most of the target audience). This is often done if the movie is seen predominantly from the viewpoint of a particular character who does not speak the language. Such absence of subtitles allows the audience to feel a similar sense of incomprehension and alienation that the character feels. An example of this is seen in Not Without My Daughter. The Persian language dialogue spoken by the Iranian characters is not subtitled because the main character Betty Mahmoody does not speak Persian and the audience is seeing the film from her viewpoint.
Occasionally, movies will use subtitles as a source of humor, parody and satire.
One unintentional source of humor in subtitles comes from illegal DVDs produced in non-English-speaking countries (esp. China). These DVDs often contain poorly-worded subtitle tracks, possibly produced by machine translation, with humorous results. One of the better-known examples is a copy of Star Wars Episode III: Revenge of the Sith whose opening title was subtitled, "Star war: The backstroke of the west". [5]
Many words such as "Mum/Mom", "pyjamas/pajamas", and so on, are commonly spelled according to the accent or national origin of the person speaking, rather than the language, country, or market the subtitles were created for. For example, a British film released in the United States might use "Mum" when a British character is speaking, while using "Mom" when an American character is speaking.
Phone captioning is a free service provided by the US government in which specially-trained operators provide transcriptions for hearing-impaired telephone users.