The chained translator

We assume that our profession rather limited, has a percentage of creativity as we dedicate ourselves to repeat the original message to an audience that unknown language, but within this Union cage there are different degrees of freedom. We could assume that the freer have traditionally been the interpreters and the more enchironar you, translators. With the permission of the new transcreation, which allows you to go a step ahead. However, the translation and adaptation of subtitles can be, in many cases, the service that allows us to be less creative and not let us deploy all our talent as linguists.

If in literary translation we must deal with the manual of style of the Publisher or the author, in the translation of subtitles every producer, project manager, reviewer and even the postman bringing the super advertising, have something that tell about how should translate which is supposed that it is the specialist in all this.

Let’s look at some links of this chain that us pinion when we translate subtitles:

  • Size of the subtitle: we have a maximum length and whether it appears an expression which in the original is composed of two words and in your language is 10, because it cuts by where you can.
  • Reading speed: the restriction of characters we have to add that people read at a certain speed and do not read at the same speed a child as an adult, therefore, although we can place a translation long that you fittaxes characters, you may have to reduce it because this subtitle will be very little time on screen.
  • Invented rules: you can come up with a producer who impose you abbreviate United States as US no space to the environment and, at the same time, forcing you to follow the recommendations of the SAR.
  • The neutral Spanish: can ask you that you compose in Spanish neutral, also known in throw them as: “we want to save several versions for Spain and Latin America countries” but this neutral Spanish there and everything you write It will be used against you.
  • Colours or italics: some impose you colors and other italics or symbols to indicate who speaks one and another character or that the speaker isn’t on screen at that time.
  • Translations of songs or titles of books: you’ll find producers who ask you translate them always, quite the opposite and the sensible asking that it translates only if the translated version already exists as a registered official version and is It has granted the right to use it by its author.
  • Shift: how well is a good shout in capital letters! ISN’T IT? Normally you can not do so and the deaf audience can not capture the intensity of the dialogue.
  • The numbers: they are normally written in letters from one to ten and the rest is in numbers.
  • Punctuation: wide is Castile, and if do not fit all the rules that you want us to invent, we extend to the Sahara.

And thus a long list that restricts, limits and restricts increasingly suffered translator of subtitles you have to do a movie basket with these wicker.