Translation for Subtitles on TV Programs

Moving Images, Duration, Numbers…, Is it all about counting letters?

Chiaki Matsumoto ? MMTC
(Sekolah Tinggi Multi Media, Yogyakarta)

 

INTRODUCTION

We see subtitles on screen almost everyday, everywhere; on television, film screen, and nowadays on DVD. Usually the viewers watch the programs and read subtitles without thinking or knowing how the translation has been done. ?Subtitle? is the key to understand the meaning of the contents in foreign languages. As a producer and/or a director for visual projects including television programs, you have to be totally responsible for accuracy and clarity of the translated materials. Being faithful to the meaning of interviews, narrations, or any dialogues in original languages is essential.

Any kind of translation involves not only the languages, but also culture in the countries or regions where these languages are spoken. Translation is not only changing writings from one language to another, words by words, or sentences by sentences, but also interpretation of cultural differences. Adding to the complexity of the usual translation, translation for subtitles for films and television programs involves very unique and interesting procedure which does not exist in other works of translation. In this paper I would like to explain how the translation for subtitles, specifically in television programs, is done, based on my working experience.

 

MY EXPERIENCE IN TV PRODUCTION

My first job as a journalist/producer/director started almost 16 years ago at the News Department of a Japanese Television Station in New York City. Work of producer/director is rather complicated to explain. Basically production work is divided by three stages; preproduction, production and post-production. Preproduction includes choosing the topics, making proposals, planning for budget, meetings, scheduling, organizing a whole production, research, followed by writing scripts. Production is mostly shooting on location or in studios. The process of rewriting scripts and editing until the completion of the program is called post-production. Editing requires a great deal of time and work. Visual images are cut into the scenes according to the scripts. Footages shot during the production, footages from the archives, computer graphics, photographs, etc., will be combined in editing with sounds including narration which is called ?voice-over? in TV terms, interviews, natural sounds, sound effects, background music, and so on. Subtitling is the last stage of the editing in most cases.

The task of a producer and a director from preproduction to post-production is different, but both work together on the top of the production team. A producer controls the over-all production of the programs. A director creates actually programs and controls contents, the look as well as the quality of the programs.

Being a producer/director at a news department in a foreign country, I was responsible not only for the task which was explained earlier, but also for language translations. From the very first day my work could not be started without. From newspapers, magazines, various kinds of books and other sources in English and Japanese, I translated these articles and writings for my own use. Since the main purpose was to research and collect information for the stories I was producing, the process of the translation was rather simple. It was unnecessary to consider the length of the translated writings or the sound of the sentences. I also had an advantage of knowing the cultural differences after living in the United States for more than 10 years at that time. I understood the meaning literally, as well as social and historical background of the story.

Translation for narrations was also a part of my responsibility. Narrations are not for personal reference, but for the viewers. Needless to say, every sentence has to be refined and clear for anyone who watches the program. Verbal translation was frequently required during the production. My experience, working as an interpreter for various occasions from my time in college, helped me a great deal for interviews and simultaneous translation on location.

Then, my new experience began. For producing Japanese programs in the United States, translation work for subtitles was unavoidable. For the first time, I discovered how difficult and different it was, compared with ?translation I used to know?. Ordinary process of translation could not be applied for subtitles. Before continuing to discuss the further details, I would like to make sure one important point. I do not consider translation for other materials, especially literature, is easier than for subtitles. Translation for subtitles is different. In the United States of America it is called ?another ball game?.

 

?ANOTHER BALL GAME? – TRANSLATING FOR SUBTITLES ON SCREEN

Many ways of translating for subtitles must exist and there might be books available for guidance. The way I learned was directly from my colleagues at TV stations, watching many programs as examples, and just by trying many times. Therefore, the following method is one of the examples and it is totally from my personal experience making programs, not based on any methods in text books.

Basically there are two stages; Stage I: Translating materials from English into Japanese and vise versa and Stage II: Making subtitles from translated materials. Before Stage I, as the rule of thumb in TV production, you must know how much time you have until ?on-air?. Without making realistic planning for production (completing not only subtitles, but also the whole program for broadcast), according to the schedule of on-air, you have a chance to miss the deadline that does not allow any alternatives. In case of a news program, especially live broadcast, you usually do not have much time for subtitles. Translation for subtitles is running with time.

<STAGE I>��� Translating materials from English into Japanese and vise versa

Step 1: To translate the sentences literally.

Step 2: To rewrite considering cultural differences in order to make sense in other languages.

Step 3: To make the sound of the sentences better and more effective

�Although some professional translators might add further steps or more details in addition to the steps I listed above, I would leave it simple and go on to the next stage.

<STAGE II>�� Making subtitles from the translated materials

Step A:� To measure the duration in which the subtitles will be applied

Step B:� To calculate numbers of pages can be fit in the duration

Step C:� To check edited images and numbers of shots are used

Step D:� To divide translated sentences into the numbers of pages and see if all can be fit

Step E:� To adjust numbers of letters and lines according to the basic rules by trimming the sentences and choosing the most suitable words

Step F:� To type up sentences using a special system in computer and add them to the edited sequences

Step G: To check if the meaning in original language is not lost and revise the sentences

Step H:� To consider the differences in languages and expressions in different culture, history, and customs are suitable and comprehensible

Step I:� To make all sentences even better

Since the steps written above are not easily understood without seeing an example, I would like to explain step by step, using some clips from the programs I directed. Most frequently, subtitles are used for interviews.

<Video Clips>

1)��� Fuji Television

?New York Trend – Henna Body Painting?���������� English to Japanese

2)��� UNDP (The United Nations Development Program)

?Cambodia: Women in Post-conflict Reconstruction? Khmer to English

 

– Please see the details in attached papers.-

Step A: To measure the duration in which the subtitles will be applied

This is the fist step. Without knowing the duration it is impossible to begin. Needless to say, if there is an interview for 10 seconds, you have to complete your subtitles within that time limit.

Step B: To calculate numbers of pages can be fit in the duration

In case of Japanese and English, according to the standard rules of television, the viewers need 3 to 5 seconds to read 1 line of subtitles, depending on the length of the sentence and its content. For 2 lines, approximately 5 to 8 seconds are needed.

Step C: To check edited images and numbers of shots are used

You do not have to change pages of subtitles according to ?the numbers of cuts in editing?, however, you have to keep the rhythm of flow.

Step D: To divide translated sentences into the numbers of pages and see if all can be fit

Simply people talk faster than reading letters. Therefore, in most cases the translated sentences do not fit in the limited duration or numbers of pages. It is important to see the main point and what you would like to report to the viewers.

Step E: To adjust numbers of letters and lines according to the basic rules by trimming the sentences and choosing the most suitable words

In Japanese programs, usually 17 letters in one line on screen are common and mostly 1-2 lines in 1 page are considered to be ?reasonable?. These rules are based on the visual ability of the human beings. Naturally, if 1 shot or 1 image is crowded with a lot of information, the viewers take longer to understand the meanings in the shot. That could lead to an unwanted direction of loosing the track of the story. Less and effective information is preferable. Rarely the sentence is displayed in 3 lines, but it can be done according to the situation, if necessary. Although, it is preferable to complete each sentence in one page, the sentence can be divided into more than 2 pages.

The same rule can be applied for English subtitles, but the numbers of the letters in 1 line is basically limited to 45 or less.

Step F: To type up sentences using a special system in computer and add them to the edited sequences

Then, you have to see all the sentences in every page as well as the whole scene, make sense. From this point you will do all the adjustment on the screen in order to see the result with visual images and sounds.

Step G: To check if the meaning in original language is not lost and to revise the sentences

By shortening sentences, many words have to be eliminated and often meaning of the sentences changes without any intention of translators. It is not easy to find the perfect words or expression in a limited space. Creativity?and artistic sense of the translators are the key to solve the difficulties of this process.

Step H: To consider the differences in languages and expressions in different culture, history, and customs are suitable and comprehensible

Most of the time, this step is done simultaneously with Step G. Information about history, geographic locations, names of famous people or celebrities, traditions, customs, habits, etc. that are very common to certain viewers is not necessarily familiar to the others. It all depends on the area of the broadcast and the viewers. For example, how many foreigners know where Borobudur and Prambanan are located before visiting Indonesia? Maybe very few people have knowledge of the geographic locations of the ruins. If the programs will be aired in foreign countries, you must include the necessary information for the viewers, even the locations are not mentioned in the text,. Otherwise, they might be confused. Even if the programs are aimed for national broadcast, you must consider the viewers in all the regions in the country. For example, not all the people from Kalimantan would know how the traditional wedding ceremony will take a place in Solo or Yogyakarta including Javanese language.

Step I: To make all sentences even better

This last step is taken in any kind of translation, I believe. We all struggle to revise after revise until we find the best suitable expression.

Before finishing up, check IF:

1. The main point of what the person in interview would like to say or express is clear.
2. In each page visual image and subtitles do not conflict each other and the flow of the editing with subtitles is smooth.
3. The viewers can read and understand the meanings without any difficulty.
4. What you, a producer or a director, would like to deliver to the viewers through this interview is clear.

Finally, after the elaborate work of completing all subtitles, you have to check the result by watching the whole program from the beginning to the end. Sometimes the process of editing for a short story in a news program has to be done within 2 hours. In the case of ?running with time?, is it necessary to consider the artistic aspect of translation to complete the process of making subtitles?

 

CONCLUSION

Translating many interviews for my work in such a short time, I often had a feeling about translation for subtitles on television programs is all about considering moving images, worrying about duration and counting numbers of letters. In a limited time, it is easy to get lost in the situation of ?just complete your job?. However, I quickly realized that by translating sentences mechanically and literally for presenting the basic meaning to the viewers, the message contained in the program would not be delivered effectively. The deeper level of understanding cultural differences and artistic sense of refining sentences can offer to the viewers much more than just basic meaning of the contents.

From visiting and filming in almost 30 countries for business and personal pleasure, I acquired more knowledge about an interesting complexity in translating languages. Traveling around the world opened up a new door in my life. The more I observed, the more I learned about new cultures. The more I experienced different customs, the more I understood about people, history, and languages. Languages are alive. They constantly change with time as people change their way of living. Change can be occurred by development of technology. Commercial influences also affect the trends of languages, especially colloquial style.

Translation in general is a work of art. It involves many aspects of human life. There is no limitation in imagination and creativity. We, as human beings, are able to expand our potential to create. Creativity of a painter has no boundary. Even though the size of the canvas is small, within a limited space, the painter can freely express his/her ideas, feelings, desires, and imagination.

Translation for subtitles on screen has many concerns and limitations as I explained earlier step by step. From the procedure, it seems like a mechanical process, however, just like the paintings by the artists, translations for screen cannot be limited because of the space or duration of the segments. Subtitles play an important role in the programs. Subtitles give information to the viewers and at the same time, share the cultural differences. Translation for screen is translation of culture. And it is a reflection of the knowledge, creativity, and imagination of the translators.