Knowing more about them would help put the idea of the subtitler as an independent creative operative in a realistic context. The lack of specifics, such as what types of parameters are set, means that the reader cannot fully grasp the way specifications shape subtitlers’ work. This brief reference to parameters does not demystify the process very much. For example, on page 4, the white paper discusses the “specification parameters” defined for each client. However, I would have loved to read even more details about the subtitling process, what LSPs expect of their translators, how decisions on norms and practices are made, and so on. I have been keen to learn more about how subtitling agencies operate, which is why I was pleased to see this publication.
The white paper states on page 3 that its intention is “to demystify the subtitling production process, and provide the reader with an accessible, abridged explanation of subtitling for global film and television productions.” It is indeed eye-opening to read how an LSP describes its work. Creative freedom within a streamlined process?
Work as a subtitler professional#
I have had many discussions with professional subtitlers in recent years, so I am aware of some industry practices from subtitlers’ point of view, but no insight into Iyuno’s operations in particular. I have no particular information on Iyuno-SDI’s internal processes. I am writing this from my perspective as a researcher and former subtitler. With this blog post, I want to share some of my thoughts on it, especially concerning subtitlers’ working conditions and the possible effects of working conditions on subtitle quality.
ATRAE, AVÜ and AVTE), particularly to the talent crunch issue. Some audiovisual translators and translators’ organisations have published their responses (e.g. A few months ago, Iyuno-SDI published a white paper discussing the subtitling process and related considerations, such as the talent crunch, or shortage of competent subtitlers.
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