subtitling excellence

The State of the Caption: Deaf Accessibility in Toronto’s Cinemas

reelwords

In December 2017, I contacted the main corporate and some independent film venues in Toronto to canvass their provision of access to hearing assistance for the *Deaf, deaf and hard of hearing. Cinemas are only able to provide captions when production companies include the files. But who has what capabilities?

Before you scroll away because you “don’t know any deaf people,” consider this: you may think you don’t, but a lot of people don’t advertise their deafness because a) it doesn’t define them and b) it’s frustrating to keep explaining it repeatedly to hearing people. Also, hearing folks do use captions: English language learners; people needing cognitive support with visual reinforcement; watching shows with heavily accented or audio-obscured speakers; and in noisy places or where the volume is off or problematic. To read about my personal experience using assistive tech in a cinema, read this article. But here’s my experience accessing information about captioning and hearing-assistive devices in eight Toronto cinemas and chains.

In my online contact attempts, my website-linked business name was in my email signature (providing transparency), and I asked only the following of each recipient:

Hello,

I've looked at your accessibility page, and I'm writing to get up-to-date information about the availability of listening assistance at your cinema[s], be it open captions or assistive technologies. I'm in Toronto. Can the Deaf, deafened or hard of hearing attend movies with full access? Do I just show up and any showing will just have assistance available?

Thank you.

 

Here are the fascinating results of my inquiries.

Exterior photo of the Cineplex Scotiabank multiplex in Toronto

Image: https://www.flickr.com/photos/stevenharris/3371960989

Cineplex

Not surprisingly for a large corporation, I was assigned a ticket to my inquiry and received an automated reply. It said:

- Please type your reply above this line -##

Screenshot of automated reply from Cineplex about caption options and how to access that information on their website

 

 

I replied,

If an individual reads my email, they'll see I've reviewed the website and am requesting up to date information—i.e., has anything about availability changed?, etc.

I'd appreciate a non-automated reply.

Many thanks.

 

Hello Vanessa,

Thank you for contacting Cineplex.

All of our theatre locations have the capability to present shows with Closed Captioning and/or Described Services. Ultimately we rely on the film distributors to provide our theatres with the appropriate files for each film so our guests can enjoy these services; because of this there can sometimes be a film without these features offered. You can always check the availability of these services by searching film showtimes online and if you see (CC/DS) underneath the film format your show will have Closed Captioning and/or Described Services. (see example below)

​

If you need more information on what each device does see the links below.

https://www.cineplex.com/Theatres/ClosedCaption

https://www.cineplex.com/theatres/described-services

When you go to your local theatre simply request either device from the box office and the staff will be happy to set it up for your show.

If you have anymore questions please let me know.

Have a great day!

Cineplex Guest Services

 

I thought the “there can sometimes be a film without these features offered” was gilding the lily a bit. I also felt the DS info indicated that they were copy-and-pasting and not writing back specifically with my question in mind. I wrote back,

Thank you again.

But would it be possible to implement a search function so that we can look for films with CCs rather than clicking through every possible movie and theatre to see if they have captions/assistance? I think I will also have to approach cinemaclocktoronto.com about considering adding a search feature, since most of us look for movies online in one place, not at the discrete sites of cinema corporations.

The answer:

Hello again

I will happily share your feedback with the IT team in the hopes they can add that functionality. Please note you can search individual theatres and their showtimes at the bottom of each of those links I sent you.

https://www.cineplex.com/Theatres/ClosedCaption

https://www.cineplex.com/theatres/described-services

Have a great day!

Cineplex Guest Services

 

Hm. I think a chat with Powers That Be about searches and increased access would be fruitful...if only I could reach them.

 

External photo of the Carlton Cinema in Toronto

Imagine Cinemas

Image: grainger via https://commons.wikimedia.org/wiki/File:Carlton_Cinemas_Toronto.jpg

The much-loved local Carlton and its related cinemas have demonstrated commitment to accessibility for audiences and employees, which I have respected greatly. Plus, their staff are outstanding in their customer service, and their reply reflected some of that.

 

Hi Vanessa,

We have a few locations with assistive listening devices, however we often experience technical difficulties with them which is why they aren’t advertised. We also have a few locations that play open caption films on certain days/ show times.

I will forward your email on to our Carlton and Market Square locations as they are our DT [downtown] Toronto locations and would have a better idea as to what they actually have.

 

And further follow up, since I’d mentioned me needing to bring this up with cinemaclocktoronto.com:

 

Our Carlton location have headphones that amplify sounds but no open caption.

Our Market Square location has assistive listening devices but have expressed that they don’t work very well. They do however have 1 open caption movie a week (see screenshot on how it would appear). They are the ones that say OC. The upcoming week they are playing The Greatest Showman and the following week is Star Wars.

Cinema clock is a third party website so unfortunately we cannot control how they display content.

Hope that helps!

 

Customer service first prize to Imagine! They already show one captioned movie a week—not what I’d call fully accessible but certainly open and willing to improve. They admitted their lackluster customer feedback and communicated that openly to me. They were also the first company to reply—the same day I emailed and a week before the other replies began to trickle in. Small chain, bigger heart?

 

 

Interior photo of the Hal Jackman auditorium at the AGO in Toronto

Image: https://www.ago.net/jackman-hall-overview

Jackman Hall, AGO

I received this reply:

Hello Vanessa,

Thank you for your email.

At the moment Jackman Hall Theatre is not equipped with open captions options or assistive technologies. We are able to transmit, however do not have the devices in house. It would be up to the client to provide the film with captions built into the film as well as provide any devices or hardware. We are working towards upgrading our venue in order to be more inclusive. At this time we not able to assist with deaf, deafened or hard of hearing patrons with full access unless the film is subtitle or a client provides the assistive devices/hardware.

Please feel free to contact me if you have further questions or concerns.

 

I found this interesting considering that it is in the AGO, which is 33% government funded, and that the AGO Transformation, which included the renovation of Jackman Hall, was completed in 2008. The $276 million project couldn’t throw in some hardware then or since??

 

Exterior photo of the TIFF Bell Lightbox cinema in Toronto

 

 

 

 

 

 

Image: https://www.ticketmaster.ca/TIFF-Bell-Lightbox-tickets/artist/2270943

TIFF Bell Lightbox

Bell TIFF Lightbox’s reply was interesting in several ways.

Hello Vanessa,

Thank you for your email and interest in attending films at the TIFF Bell Lightbox.

Hearing Assist (which raises the volume for visitors with slight to moderate hearing impairment) is available for all of our screenings as it is provided by our theatre.

The availability of Closed Captioning and Descriptive Audio is dependant [sic] on the copy provided to us by the distributor. If we have films that come with Closed Captioning or Descriptive Audio we will display that information on our Website.

Please refer to the example below. (SUB = Subtitle, CC = Closed Captioning, DS = Descriptive Sound, TBLB 3 = Cinema #3)

When you arrive at the cinema please inform Box Office staff that you require additional equipment and the staff will be happy to assist you with the set-up and procedure.

Hope this information helps.

 

They said Hearing Assist was used as an amplifier but a phone call confirmed the brand was Listen, so this doesn’t seem to be updated info as requested.

Note, too, the use of the term “hearing impairment,” which is interesting terminology from a charity purporting to be “committed to a strategy that works to remove barriers to interacting with our programming” (TIFF, 2016: http://humber.ca/makingaccessiblemedia/modules/03/09.html). The echo I experienced was still a barrier. And being non-hearing is not considered an “impairment” or disability by the so-called afflicted or disabled. (http://cad.ca/issues-positions/statistics-on-deaf-canadians/)

I’ll also add here that during  December, as a TIFF member, I received nine donation-dunning emails between the 13th and 31st, with clickbait-worthy subject lines like “You’re on my mind” pleading for access to our thoughts about connection and access to members’ wishes. I am seriously considering cancelling my membership. It will be dependent on the response I get when I email them. If they’re really serious about “want[ing] to know what you think,” they may bite.

I wrote back asking about a search function for CCed films.

 

Hi Vanessa,

We are glad to hear the information was helpful.

At this time we do not offer a feature on our website like the one you have described but I have passed your email on to the department that handles the website for consideration when planning future updates and features. In the mean time [sic] clicking through the various films is the only way to see the information regarding Closed Captioning and Descriptive Audio.

Regards,

Customer Relations

 

Both in email and in person, I was readily informed that Call Me by My Name has CCs. This is incorrect, and I suspect a lot of venues and services, perhaps unwittingly, plug such films as accessible to the non-hearing: that film’s dialogue includes three languages, which are subtitled for marketability; it is not accessible in that it was intentionally released with non-hearing audiences in mind—that is captioning.

 

Interior photo of the auditorium of the Hot Docs Cinema in Toronto

 

 

 

 

 

 

 

 

 

 

 

 

 

Image: https://hotdocscinema.ca/c/history

Hot Docs

The old Bloor Cinema seems to be typically at the mercy of producers’ inclusion (or not) of caption files. I suspect most documentarians are making their films on low budgets; however, some are backed by humanitarian organizations, and you’d think their mores would support full accessibility. (Perhaps some PhD student can do some research into how many docs are captioned…) And, frankly, I’m surprised when the theatre was renovated, some funds weren’t allocated for assistive equipment like CaptiView. Surely some doc files are captioned?

Hi Vanessa,

Thanks for your question!

Firstly, for each screening we can provide head phones that allow the viewer to increase their own listening volume independently.

For more specific hearing aid devices, such as closed captioning, the most up-to-date information would be available at our Box Office, per screening; each documentary comes with/without its own set of closed captioning and hard of hearing accessibilities.

The best option would be to call our box office the week your preferred documentary is showing and ask for the accessibility options on that specific film.

I hope this helps.

 

 

Exterior photo of the Revuew Cinema in Toronto

 

 

 

 

 

https://en.wikipedia.org/wiki/Revue_Cinema

The Revue

Being a very small enterprise, understandably they wrote back

Hello  Vanessa,

We currently do not have assisted listening devices available at our theatre, But we are working on it.
So sorry for the inconvenience... We will make it a priority to attain these devices during the new year and you will be contacted promptly once we have acquired a few.

Thank you for your interest,

-Revue Cinema

 

Note the apology and plan of action. Good sign! I’ve made a note to check back with them.

 

Interior photo of the Royal Cinema's auditorium in Toronto

 

 

 

 

 

 

 

Image: http://newsite.theroyal.to/about-the-royal/#

Royal 

Through several emails, I learned that the Royal generally does not offer access to deaf-assistive technology but does, interestingly, have two series events that feature access vehicles: Drunk Feminist Films and Screen Queens, the former having hired ASL interpretation in the past due to a small Deaf community being involved. The other reason for provided captions is that events have live comedy commentary over top of the movie through microphones, thus captions allow people to listen to the comedians talk about the movie while also watching the movie. But with general programming, like all cinemas, they are stuck with only being able to provide captioning when it is provided by movie producers.

 

Cinema Clock  https://www.cinemaclock.com/ont/toronto

I also emailed this clearinghouse of movie listings to see if the search function could not be tweaked to include a way to find only those movies with CCs.

The email envelope icon on their home page does not work, so I went to their Contact Us link on the More tab and filled out an online form there. After three weeks, I have not heard back from them.

 

 

I’m going to assume that we have it relatively good in Toronto and that access to assistance for deaf moviegoers is generally sketchy or non-existent in most smaller Canadian cities and towns. If you know otherwise, please share information in the Comments.

If you're interested in accessing more caption options (i.e. for any time slot, not just the cinema's dead day), have a polite chat with or send an informative email to the management. Eventually, feedback will work its way up the corporate ladder and maybe—one day—access to movies for the Deaf, deaf and hard of hearing will no longer be considered an extra cost or frill. It'll just be going to the movies.

 

Accessibility in Movies and Video in 2018

reelwords

...and Why I’m Not Going to Shut Up about It

 

I recently had my first experiences using hearing assistance technology (and I use the word technology with something of an eyeroll) at two movie theatres in Toronto. Here's why filmmakers have got to start putting accessibility functions and services into their budgets. The cinemas can't project captions that aren't there.

 

Amazon's photo of a Listen personal amplifier: a small black device resembling a handheld transistor radio, showing volume and battery levels in a screen near the top.

 

 

 

 

 

 

 

Audio Assistance

At the first cinema, I was lent a Listen personal amplifier device with disposable earbuds in exchange for my driver’s license as collateral.

I was rather excited because I was seeing Interstellar, and I knew from previous viewings at home and in the cinema that Matthew McConnaughey’s voice is very difficult to hear in that movie. I thought this would help me hear more of his lines.

With the Listen brand amplifier (smaller than handheld transistor radios and thicker than a cellphone), there was a belt clip. That’s great if you’re wearing something with a waistband. Also, a little red light is visible, which I suspect may be annoying to seat neighbours, and I’m not sure there’s necessarily enough earbud-wire length to turn it upside down in your cupholder or to wear it upside down on your belt to not distract them periperhally.

If you know Interstellar, you’ll know that Hans Zimmer’s awesome soundtrack blasts through much of it—and I mean blasts, to the point of the seats and walls shaking in a non-IMAX movie: organ-lover’s delight! So, every time the action and mood was ramping up, I had to whip the earbuds out (I ended up using my own, as the provided ones were cheap) or have my eardrums practically split. Fine: hazard of the film, and amplification was not needed at that point. However, what was so disappointing was that all the hearing receiver did was create an annoying echo due to a delay in transmission, sort of like echos in cell calls or the overseas long-distance calls of yesteryear on landlines. Now I was hearing Matthew utter his tortured feelings in duplicated mumbling. I gave up on the “assistance” halfway through. This is a device retailing for about $250US or $400CA, so it’s no cheapie, and still the results were less than stellar…

How can an echo assist hearing? Do more current or more expensive models avoid this problem? Leave a comment below if you have other experiences. I retrieved my ID without comment, as I didn’t feel the box-office staff would be very invested in my feedback. They’re 20something with normal hearing, after all.

 

A CaptiView device in the foreground of a dim cinema auditorium; the green digital print gives connection instructions for that cinema.

 

Visual Assistance

My second experience was using CaptiView in a cinema; I did call ahead to make sure one would be available. Not only was it available, it was at the tickettaker’s booth, ready to go, and she knew how to set it up: good start! It conked out during previews “battery very low!!” and the manager said it was because it had just been used in a previous showing, so that indicates to me that perhaps several more are needed on hand to provide access while spent ones are recharged. Nevertheless he had another immediately available. Interestingly, they did not ask for ID or any security for the device: not that I’d want to walk out with one, but I was still pleasantly surprised not to be treated like a potential thief.

Complicating this experience was the flawed subtitles in the movie I saw when a foreign lanugage was translated, so I had two layers of imperfect access to negotiate in my attempt to be fully immersed in the story. In general, the CaptiView worked okay. But:

  1. As I’ve pointed out before, you have to place it in your cupholder, so that leave no cupholder for your pop, which is a problem if you also have popcorn to eat.
  2. Twice the device popped out of the cupholder and fell to the ground: you need to really shove it down prior to the show!
  3. The green type was a good size and clear, except when it didn’t show! Some captions were missing—as in entire or partial sentences never came up and the subsequent lines were on the second or third lines of the device, so I don’t know if that meant the problem was in the CaptiView or the digital file, but it happened about a dozen times.
  4. I felt like I was restricted to a corner of the back row: the green light is distracting to other audience members. What if I had arrived late to a filled auditorium? Would I have to ask a bunch of people to move or would they have to put up with it?
  5. Only the main feature was guaranteed to be captioned. In fact, as noted above, one trailer was captioned on the device. All the other movies that could have attracted the Deaf/hoh audience did not. (I’m assuming the Red Sparrows film itself is accessible and not just the trailer.) And all the pre-film promotional chatter, games, quizzes, interviews, etc. were not accessible. What—only hearing people want to know celebrity news and movie hype?
  6. What if a bunch of my D/deaf friends and I wanted to go to a movie? We couldn’t go spontaneously (what cinema is going to be able to guarantee six recharged devices always available?) or perhaps at all even if notice was given to a smaller company that might not have that many CaptiViews. So, in essence, we’re still facing a lack of or inadequate access. We’re still not able to participate fully in cultural content in the same way hearing folks are. Would it be okay if wheelchair ramps were only available 10% of the time?

In general, the experience wasn’t a disaster, but I certainly wasn’t enthralled with this option. Between my eyes constantly changing focus from short- to long-range, stumbling and losing story immersion when captions were missing, and missing a lot of the movie’s visual impact with the device as a distraction, I definitely did not engage with the film the way I normally would. In short, the CaptiView is sometimes available, but not always conducive to full cultural engagement, and that is a half-baked experience, not full access.

 

In December 2017, Charlie Swinbourne (UK journalist and Limping Chicken blogger about all things Deaf) started a poll to have UK cinemas dedicate one screen per multiplex to captioned movies. This was prompted after a fiasco of inaccessibility at the opening of The Last Jedi, where Deaf/deaf folks were treated shamefully. As of early January, he had 23,000 signatures and had spoken to cinema executives about relevant issues.

This  coincided with the investigation I was carrying out over the pond, which I have tweeted about, and I have been engaging in similar conversations with execs of the cinema corps I have access to in Toronto: Cineplex, Lantern/Imagine, TIFF, Hal Jackman (formerly Cinématheque at the AGO), the Revue, the Royal, and Hot Docs (formerly the Bloor Cinema). I emailed each via general contact emails to start and asked what availability they had for Deaf/deaf/hard of hearing moviegoers. The responses—some seemingly canned, some more invested—are here.

I’ve had conversations with some of these same execs to see if I can’t do some educating about hearing loss, advocating for better accessibility, and asking for meaningful follow through. Some have indicated a willingness to implement more if more products were provided with caption files. The general public tends to blame the cinemas, but they can’t project captions that aren’t on the film file. It’s the movie producers who need to step up.

I also canvassed some small film producers who are making films on (their own) shoestring budgets. Again, there is willingness to caption but not available financial resources.

This investigation has convinced me that if there is to be greater access, it must begin with the major film producers—the ones with the financial ability and the cultural clout to make it the norm to include caption-accessible prints amongst their distributions. I bet if a close relative of one of the big wigs were deaf, they’d have captions all over their product, including trailers (of which I only saw one file on CaptiView for the upcoming Red Sparrows by 20th Century Fox and Chernin Entertainment).

Finally, I don’t know why the government has paid only lip service to the large Deaf, deafened and hard of hearing communities, considering how many there are in Canada (most Western countries use the estimate of 10% of the population as having some form of hearing loss or problems). Accessibility to content for the Deaf, deaf or hard of hearing has been in the supposed forefront of accessibility changes for 30 years (really spurred on by the advent of VCRs in the 80s), but not much has changed. Currently, there's a survey about live captioning in Canadian TV, but this is duplication. The CRTC did a survey about captioning 10 years ago, and the requirement to provide captions (with various exceptions) is not enforced. You can read about its status here; while you can complain about bad captions, the independent ombudsman they promised in 2015 is still slated for the future. They've done standards policies, surveys, focus groups and pilot projects (2008, 2012, 2015). Where's the improvement? They don't seem to understand the nuances of captioning, reading, and how textual editing affects user experience. You can have the fastest captioners in the world produce CCs, but "quality control" needs to be two-stepped: technical and editorial. The latter is not taught or enforced. I know because I worked as a captioner. (I did offer to help set up a vocational school so that effective language training would be offered—in Canada, anyway. But crickets.)

VODS like Netflix* have continued to do the poorest job, just enough to stay out of regulatory trouble it seems, but my educational portfolio of hundreds of caption fails proves that the non-hearing are completely underserviced in all public services with captioning. Based on the attempts I’ve made to educate and offer improvement, the interest and will just isn’t there. And I’m not going to shut up about it until people needing excellent captioning in all aspects of life start seeing improvement to access, and therefore participation in Canadian life.

I’ve also written about 2017 being touted as the year of the deaf in the movies. Here’s what I thought about The Shape of Water, Wonderstruck and all the hype about D/deaf folks in film.

 

 

*I really don’t have a hate-on for Netflix alone; it’s just the system I have and use, not having a TV. But I do have ill regard for them: their attempts to service the non-hearing are terrible and nowhere near meet their advertised standards. This is because their system of hiring “Preferred Vendors” promotes unqualified bottom-feeders in many cases. (Not all—I have subtitling colleagues who are professional translators and titlers who are NPVs, but they are the exception to the rule.) If you’d like to send me screenshots of caption or subtitle fails from other sources, please do (info@reelwords.ca): I’ll add them to my portfolio of fails and fixes.

 

For information on booking teaching and speaking engagements, see that tab on my website.

 

Top image: from amazon.com

Bottom image: by author

Captions Need Show “Bibles”

reelwords

Colour photo closeup of gilded Bible pages, with gold cover, snap closure and tasselled bookbark hanging in the foreground.

 

Captions and subtitles need "bibles" just like theatre pieces or movie productions. Like their literal iterations, these collections of information are guides for all the relevant players on how to present content so that it's clear, correct, and, most of all, consistent.

When I was a captioner, some shows had 'em and some didn't. Worst was when we had to consult fan wikis for character name spellings, backstory, etc. VODS, shows, and movies need bibles templated and used, if they're going to commit to full accessibility for all users.*

Depending on where the captioner or subtitler is, there are differences in how they would normally write as a layman and how they would do their work. A Canadian captioning a show from and about the States would defer to American dictionary spellings and definitions and standard writing style guides, plus the client's house style guide. But an American subtitling an import series from Scandinavia would be wise to not only adhere to the client's wishes and that country's standard guides but also recommend other applications based on show content and branding, audience composition and an eye to future distribution potential.

Show bibles vary from artform to artform. It may well develop to have set and costume notes and samples, helpful visual ephemera, guidelines on authorized style guides, character details, notes on directorial changes and edits (updated), and all of this should be backed up—at least twice. Hard copies might also be wise should the internetalypse happen midproduction.

Here's an example of what Netflix's much (self-)touted subtitling policies did not address or succeed at (or this wouldn't have happened).

Peaky Blinders, Season 4, Episode 5 (accessed December 2017). In one scene, Cockney Jewish character Alfie Solomons is saying Good boy but the caption says Goodbye. Perhaps the non-native captioner (or one without British background or dialectic familiarity) should not be the titler for dialogue if they can't understand the accent, let alone understand that Goodbye wouldn't even make sense in the context if that were the audio. It causes errors and (although apparently not here) extra costs in QC corrections.

Screenshot of Alfie Solomons and Luca Changretta characters in Peaky Blinders show. The erroneous caption for Alfie says, Goodbye, trot on. Down there is Bonnie Street.
Image: cropped screenshot accessed Netflix, Peaky Blinders, December 31, 2017.

If a show bible is not extant or available, a good editor will do some research and preferably some subsequent consultation. The latter should be done by the most qualified expert in their professional network: moms with English degrees don't count. Having established some form of NDA, the editor should present their problem and its context, their research, and a suggested edit to the consultant. Confirmation or correction should lead to a fix, and either way the edit should be flagged with a justified query or note to the managing editor. Time is tight on titling projects, but there's no excuse for guessing. I have a time limit on how long I'll do my own research before turning to an expert; if I can't get the ME a recommended edit, I'll pass on my recommendations for next steps.

This example also points out the pitfalls of having blinders on about vendors. Perhaps your regular multilingual translator in Europe is multitalented, but this show would have required a titler who had ties to or experience with people in London and Birmingham, for instance.

Another problem with this scene was when, in the same episode,

Alfie Solomons was captioned as speaking Italian when in fact he was speaking Yiddish...

Alfie Solomons in Peaky Blinders show is captioned as "[speaking Italian]"

 

...but the captioner didn't have enough linguistic background to tell the difference between guttural and romance language phonemes. (Note that although different, captions and subtitles are sometimes needed in the same product. Read more here.) The titler should have consulted someone (or perhaps shouldn't have been contracted in the first place). I have a whole discrete presentation I can give about foreign language subtitling inconsistencies within Netflix captions; see the Engagements tab to book similar lessons and discussions.

So a bible, shared with the captioner, would have been available to tell them that Alfie Solomons is a Jew from the East End, living in Birmingham, with the common interruptor of the area's "yeah" and that he has no known connections to the Italian language. These are two instances where Netflix would have been saved embarrassment from YGWYPF vendors. If they aren't embarrassed, simply in terms of access to content for the deaf they should be.

Bibles can be simple, and they don't have to be pretty. But they do need to be complete, proactive, shared and USED.

 

*Read here about who should be using captions and/or subtitles (and sometimes both); it's not just a "deaf problem."

Subtitle First Aid, Part I

reelwords

It happened again.

I was watching a foreign film with subtitles. They were very well done: the English was correct, the titles themselves were very readable, and the subtitling did not distract from the content—which is one of the key requirements of successful titling.

But, as I am wont to do, I stayed and read the credits. [Insert car-brakes-screeching sound effect.]

“Filmed on Loaction”

I wasn’t obsessively looking for errors. I wasn’t putting on my Holier Than Thou grammar hat. But this jumped out at me, all the way to the back row of the theatre.

Granted: errors in subtitling or end credits are not the end of the world. They don’t make it a horrible cinematic experience. And mistakes slip by. But doesn’t the visual text of the project you’ve slaved over for months or years warrant a professional once-over? Doesn’t it deserve to have all its elements treated with regard for correctness and excellence? Shouldn’t the film have a great shot at international marketability and good critical reception?

If you skip the proofreading of your film’s text, you may be sending a message to your audience that they’re not worth considering: it’s only the end credits, right?

If you skip the proofreading of the subtitles, you may be sending a message to foreign distributors that their audiences aren’t as important as your original-language audience was to you: it’s just a secondary market, so no big deal.

This is not about being too uptight, too nit-picky, too pedantic. You wouldn’t distribute your film with sloppy sound editing or jump cuts. You probably have someone (or plural, if you’re lucky) either exclusively handling or at least keeping an eye on prop and costume continuity. You want to create a beautiful, whole and masterly film. So you can’t afford to leave the most in-their-face part of the film half-addressed for your audience. If you do, you’re—perhaps only subconsciously—conveying an attitude that says that film can be dumbed down for the masses and that the bums-in-seats don’t care about writing and language or their experience with your art.

If your production budget is over $5000, you need to have an editor review the text or at least a proofreader look at it with fresh eyes. (Your mum/husband/BFF won’t do because there are things to consider that they aren’t trained to look for.) For as little as the price of a couple of first-release DVDs, you can have your post-production text in a workplace-training video reviewed (word count depending, of course). For the price you’d plunk down for a new cellphone, you can have your short documentary proofread.

All the social media shares of signs with bad spelling, grammar and punctuation are an indicator of the appetite people have for mocking errors. If you don’t want your work turned into a derisory meme that gets more coverage than the original piece, you need to consider this often-overlooked aspect of post-production.

Just as THX reminds us that “the audience is listening,” it would be wise to remember that it is reading, too.

 

 

This is the first of three pieces about why film subtitles need copy editing and proofreading by a professional editor and subtitler. The others will address inadequate translations and poor word choices in subtitles. Vanessa Wells is a member of Editors’ Association of Canada and SUBTLE: The Subtitlers’ Association.

Subtitle First Aid, Part II

reelwords

Young man wearing a helmet holds a vehicle's steering wheel, visibly crying with red and tear-filled eyes. Captio reads: "[SADLY GO-KARTS]'

 

 

 

 

 

 

 

 

 

[Please note: a new version of the WordPress theme won't allow the previous spacing in this post. Please forgive the poor layout.]

Very generally, subtitles are used in film and TV for translating foreign or indistinct speech and closed captions are for providing the hearing-impaired viewer with the audio information they are missing. As I said in the first article of this series, subtitling must not distract from the film experience, so titles or captions both require judicious choice of wording.

There are many variables involved in subtitling that aren’t evident when we watch a subtitled foreign film or closed-captioned TV show. As in many areas, projects are usually not adhering to their projected timeline, and titlers (like book proofreaders) are at the end of the process; read: rush job with no rush-job fees. Subtitling and captioning have many spatial and temporal requirements; some are based on government standards, others on average reading rates, on industry-wide conventions, and so on. Pop-ons and roll-ups use different production models. And cost is affected by companies using international roster or tender systems for finding the most cost-effective labour market they can. So it’s not always fair to complain about subtitle quality but, reasons or excuses aside, they do get noticed and it does matter.

The reason [Sadly go-karts] is lamentable is that there is a finesse to captioning and subtitling in knowing what needs to be written and when. Paul Aaron (above) is neither saying that he is sadly go-karting, nor is that a sound that must be replicated for the viewer: it’s a visual, and it’s self-evident.

Let’s look at some other problematic subtitles and captions.

I’m sure you can discern the utter uselessness of this one:

Long shot of TV coverage of tennis match, captioned [tik...tak...tik...tak...]

 

Or this one:

 

A noble ancient Roman woman stands inside a large arena, with a group of lower-classed men listening to her, and stadium step seating full of spectators. Caption reads: "Is Rome won'th one good mars life?"

 

But what about this one?

A middle-aged man is on the floor against filthy kitchen cupboards, screaming and recoiling from something in front of him off screen. Caption reads: "[SCREAMING LIKE A SISSY]"

 

 

 

 

 

 

 

 

 

It is sort of funny, and it does the trick. But “sissy” is a subjective description, and it’s likely a localized idiom that may not communicate to people of all ages or all cultures. An editor should have flagged this caption as problematic because it could put up a potential barrier between the medium and some viewers.

And here’s one for the “intensity” sub-genre of bad captions:

Scene from Breaking Bad; woman recoiling from obscured individual, holding a baby protectively. Closed caption says "Stealing intensifies."

 

 

 

 

 

 

 

 

 

 

 

 

You can’t steal intensely; you can only steal with intense emotions. Even then, this is not a word or sound to be communicated aurally.

 

Just as you can’t loudly imply cannibalism:

Man in dark scene captioned [loudly implied cannibalism]

 

You could perhaps convey that there is a loud gnawing sound, but if it’s cannibalistic eating, that’s either known to the viewer or will be, but cannibalism is not inherently aural, nor is implication loud.

Here’s another inaccurate one that a caption editor would have re-written:

Piper sitting on the toliet, captioned [urinating forcefully]

 

 

 

 

 

 

 

 

 

I saw this episode of Orange Is the New Black, and Piper is not urinating forcefully, as if she were straining with a kidney stone; she had been desperate to go for hours and was finally allowed to but only with a male guard present. A more accurate title would have said [Urgent stream of urine]. That’s a sound and that fills in the missing information more correctly. Her face conveys her disgust.

This isn’t the worst caption in the world:

Man in green hospital scrubs captioned, {makes "I don't know" sound]

 

 

 

 

 

 

 

 

 

 

 

 

But in best practices, it might have been better to write something like “Expresses indecision” (if that were the case; I don’t know the scene) because the “I don’t know” sound is a culturally differentiated mannerism.

My final example is not from a subtitle or caption but could easily be. A fellow editor told of a South African correspondent who was talking about a "toot" which, to her, meant a drink. My colleague commented that "toot" means something very different to us in North America (and she didn’t mean a cute car-horn sound). This demonstrates the need to have an editor review the text for idioms appropriate for the intended market. Sometimes idioms must be retained to convey cultural richness and idiosyncrasies in the story, but it is important to have someone who is aware of potential stumbling blocks (and riotous audience laughter) and who is capable of supplying synonyms that will still work with the film. The Harry Potter books were Americanized for this continent’s market (and some would argue unnecessarily), but there are times when professional copy editing of the subtitles can prevent gaffes, offence or derision and—ultimately—loss of post-distribution revenue.

Subtitlers and captioners have to work at unbelievable speeds and too often with insultingly low pay. It's not always their fault if the titles we see are poor or just plain wrong. But a subtitling editor can check the work with a lot less hassle than your production team would have going back down the pipeline to get the errors dealt with. Then, when your film is received with popular and critical acclaim, you can pop that bottle of bubbly and have a toot to celebrate!

 

This is the second of three pieces about why film subtitles need copy editing and proofreading by a professional editor and subtitler. The first addressed proofreading as a basic component to post-production and the final one will deal with inadequate translations. Vanessa Wells is a member of Editors' Association of Canada and SUBTLE: The Subtitlers' Association.

 

 

The balance of the photos used in this post were retrieved on July 7, 2016 from here.

Subtitle First Aid, Part III

reelwords
Four boys lead a smaller one by the ear down a dimly lit institutional hallway; a still from the movie The Tribe.
                                                               http://www.vice.com

Parts I and II discussed the need for filmmakers to incorporate proofreading and copy editing respectively into their post-production plans. I also wrote about some of the technical difficulties titlers and captioners face, including time and space, which are connected to fonts and the languages themselves. For instance, French text is typically 20% longer than English, so if titling for an English-to-French film, you'd have to take all of these things into consideration to keep the titling up to speed with the English actors' speech.

In this final piece, I'll discuss issues of translation for subtitles, and you'll note complicating crossover problems. I picked a random foreign film to examine its subtitles' translation. (I'm not going to name the film because my aim is not to shame anyone making mistakes, for reasons outlined in Part II). I'll simply outline typical problems I found in it.

First some good points: the translator used slang such as "gonna" appropriately, based on character. They correctly ignored a lot of background chatter that was intended to establish setting elements and that was not integral to the plot or action. For the most part, idioms were correctly used. I bristled a little at the choice of US over UK/World English spelling but, looking at the secondary releases, I see that it had greater American than European distribution, so fair enough. (Although I still believe that World English is preferable because it prevents reader stumbling for more viewers worldwide.)

As in any copy editing job, there are stylistic choices decided on by the higher-ups which must be respected. Just as in editing an author's book, you can't hijack their style and have it your way, unless you can demonstrate your concerns about potential problems the reader may encounter and provide workable solutions. So this film used some editing choices in the subtitles that I found a bit clunky for continuity, such as capitalizing a new phrase following an ellipsis from another frame, when I would have used less distracting commas and lower-case letters, as it befitted the grammar. I found my eye jumping to the upper case and wondering if I'd lost the train of conversation from the last title. However, this is a grey area.

But my encounters with inconsistencies, treatments of numbers, expressions and, most egregiously, omitted titles were problematic.

Aside from the above regarding caps following ellipses, there were too many inconsistencies in punctuation treatment. Numerous clauses and sentences were incorrectly elided, either with too many or incorrectly placed commas, so that some sequences of subtitles should have been self-contained sentences and some should have been restricted to fewer clauses. Good writing in the script was misrepresented as long strings of spoken clauses.This sloppiness loses the reader, whose focus is returned to concentrating on the subtitles rather than absorbing their content subconsciously.

The treatment of numbers may seem like a picky topic, but it's not. Generally, editing conventions are to write out numbers between zero and nine or ten and to use numerals for 11 and above. Even if this had not been the stylistic choice, the jumping around was very distracting. I saw "2," "1st," "6-7 years" and, worst, "five minutes" and "15 minutes" and "30 minutes." In their contexts, those first three examples should have been written as "two," "first," and "six to seven years." Yes, the last three follow the above convention but a good editor knows when to break the rules to maintain reading flow. The scene involved counting off time being wasted by a character, so for better flow, I would have recommended using "5 minutes" to match the latter two time references.

Another translation and copy editing issue was around "n" and "N" plus a numeral: viewers were expected to know that "n55" and (inconsistently) "N55" meant number 55 or #55 as used in street addresses. This kind of error shows lack of consideration for the audience: it assumes a worldliness in all filmgoers, that they will know cultural references for all countries.

Here is another example of culturally differentiated mannerisms not being served by the subtitles. A character said she was going for—and made a going-to-sleep gesture, putting her head to the side on her joined hands under her ear. This is a gesture that is not culturally exclusive and probably is understood by most of the world as meaning "going to sleep." But in this case the subtitle was not left out and inserted "A nap!" (which is both incorrectly capped and punctuated); this is poor titling because she did not say "a nap" verbally, she only gesturally conveyed it.

One expression missed the mark. "It's a bit tradesman's entrance" should have been "It's a bit of a tradesman's entrance" or, because the point was to emphasize the slang and the distaste of the speaker, "It's a bit of a tradesman's entrance" (since italics would work better than single quotes inside double in titles). Not a horrendous problem, but I was stopped momentarily by it.

The choice to omit subtitles for some words was very unwise. One example was when a foreign word on a sign, key to a sub-plot, was left untranslated. It should be assumed that filmgoers are not all bilingual or multilingual and, even if they are, that the film's original language might not be one of theirs (and English itself might be a learned tongue). This type of error excludes some viewers and affects their experience with the film.

The other omission was frequent: completely non-existent subtitles for foreign words that were proper names for objects—and inconsistently! The post-production team and translator should have discussed and decided on the treatment of these names, applied the usage consistently and, again, not made assumptions about the viewers and what is general knowledge, especially when it applied to another language and a very particular niche of work. Equally annoying was when they allowed a spoken English word mid-phrase to have no subtitle, because it was assumed the English viewer knew what it meant. But when you have an actor saying it with an accent and when you drop a subtitle off, that creates reading and film-watching stumbles. Here is a fictional example of what I'm referring to:

Yes, it was on the

 

Was it? I didn't see that.

The words "BBC News" were omitted because they were spoken in English. But that is egregiously poor subtitling practice. The constant omissions were very distracting from the film experience, which is antithetical to subtitling and captioning.

It is rare to have perfect subtitles in a full-length feature, but the above examples illustrate some of the problems a subtitle editor can find by reviewing the text before distribution. The key is to allocate budget and time for this step in post-production. Film cannot engage foreign viewers if their absorption is interrupted, and being engrossed in a film is the audience's primary desire. Subtitling excellence is part of the value which filmmakers owe them.

 

This is the final of three pieces about why film subtitles need copy editing and proofreading by a professional editor and subtitler. The first addressed proofreading as a basic component to post-production and the second looked at editing poorly worded subtitles and captions. Vanessa Wells is a member of Editors' Association of Canada and SUBTLE: The Subtitlers' Association.

The photo above is from The Tribe, a movie which was made all the better for not using subtitles. Read my review of it in the second entry of this blog post.