Use this if the source video has black borders and your new video does not. Automatically remove the required margins to center the old video within the new video.Use this if your new video has black borders or shows more of the picture than the old one. Automatically add the required margins to center the old video within the new video.This is intended for when one or both of the resolutions is anamorphic, and actually represent the same picture. If the new resolution and old resolution don’t have the same aspect ratio, you have four options: If you’re resampling from SD to HD resolutions, you probably want to convert the YCbCr matrix from TV.601 to TV.709, and vice-versa when converting from HD to SD. Resolution, destination resolution, and what to do if the source andĭestination have different aspect ratios.īy default, the source resolution is set to the current script properties and the destination resolution is set to the video’s properties, which is normally what you want.Ĭhanging the source settings is typically only useful to repair previous incorrect resampling or scripts typeset incorrectly. There are three main parts to the resolution resampler: the source Resolutions, converting a script for a 4:3 video to its 16:9 equivalent, andĬonverting between 1:1 and anamorphic pixel formats. Uses include merging two scripts with different It can also offset all margins (and absolute What can be considered a further contribution of this study is the corpus itself which could be used in future qualitative or quantitative analyses.The Resolution Resampler is a built-in tool designed to change the resolution of the script while transforming all affected tags so itĮnds up looking the same. The findings could be used in applied translation studies not only for the explanation and prediction of the way subtitles are manifested, but also in the training of subtitlers. Besides, the theoretical results could have some bearing on general translation studies. The findings contribute to the advance of AVT studies by foregrounding two national subtitling practices. The consistency of regularities in all ten of them seems to point that norms revealed in this study operate in most movies that have been subtitled in Greece and Spain at the turn of the millennium. This phenomenon is caused by differences both in subtitle distribution and in the use of omissions. Overall, the number of subtitles is recurrently higher in Spanish but this does not necessarily mean that Greek versions translate less. Combining textual (subtitled film analysis) with extratextual (questionnaire results and literature review) sources of norms enables arriving at safer conclusions. This qualitative analysis aims: to exemplify the recoverability hypothesis and how it seems to affect subtitlers’ decisions to use omissions to illustrate how pauses and shot changes may influence the distribution of subtitles and to answer some of the questions raised in the quantitative analysis. Regularities revealed by quantitative results point to norms whose operation is investigated through sample analysis. The quantitative study analyses differences in subtitle numbers, subtitle distribution and duration, number of characters per subtitle, number of subtitles consisting of full-sentences and temporal relationships between utterances and their respective subtitles. Methods include the use of a questionnaire directed to subtitlers in both countries and a quantitative analysis of the Greek and Spanish subtitles aligned with the utterances from ten US blockbusters produced from 1993 to 2003. This research is based on three general hypotheses: that the most suitable approach for such a query is a descriptive product-focused methodology based on norm theory that there are regularities in the subtitling practice and that subtitling norms are of a different nature in Spain, a dubbing country, and Greece, a subtitling country. In the attempt to answer them, first a theoretical framework is established and conceptual tools are provided, including the notion of recoverability, categories of temporal relations between subtitles and utterances, as well as subtitle types, most notably the type termed “zero-liner”. Are subtitling practices different in Greece and Spain? And if so, how and why? These are the questions that instigated this study in the first place.
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