One thing that I have noticed is that there are several scenes where characters speak in Spanish - some of these scenes are quite important for following the story - but they never show language translations or subtitles.

The very next scene (the first scene of S3 07) is subtitled throughout. The Cousins, as small boys, squabble over a toy, and one (Marco) runs to their uncle (Hector) to complain, and says he wants his brother (Leonel) dead. Hector calls Leonel to him, and plunges his head into a barrel of water, holding him there, asking Marco if that's what he wants. Marco pummels Hector desperately until he releases Leonel, and asks him tearfully if he's all right. Hector tells them: 'Family is all'. Not only does this tell us why the Cousins, and the cartel, are such implacable enemies... it also horrifies us to see the innocence of two little boys who we know will become utterly evil and remorseless. But the entire scene would be incomprehensible without the dialogue, so the subtitles are essential.

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Note that the Season 4 (so it's not the cause of your specific issue) Blu-ray has a glitch where several Spanish-language scenes are supposed to contain English subtitles, but the subtitles don't appear unless you manually enable them through the menu.

Rather than being burned into the image, these subtitles are just another subtitle track, and it's supposed to be enabled by default, so that even when you turn the subtitles "off" altogether, these subtitles appear for the Spanish-language scenes.

Due to the bug, the subtitles do NOT appear if you simply put the disc in your player and hit "play." Instead, you have to enable the full English subtitles via the menu, then turn them off again. The English subtitles will then appear for the Spanish-language scenes as they should.

One subtitle can be composed of one or two lines. In languages based on the Latin script, the subtitle must be broken into two lines if it's longer than 42 characters (because a longer line is more difficult to read than a subtitle composed of two lines, and some offline players may not display longer lines correctly). "Line-breaking" refers to choosing the place where the line is broken, and also, where to end the whole subtitle. To make a line break in Amara, hit Shift+Enter. Note: The maximum number of lines per subtitle is 2.

Generally, each line should be broken only after a linguistic "whole" or "unit," no matter if it's the only line in the subtitle, or the first or second line in a longer subtitle. This means that sometimes it's necessary to rephrase the subtitle in order to make it possible to break lines without breaking apart any linguistic units, e.g. splitting apart an adjective and the noun that it refers to. Other times, you may need to split a subtitle into two separate subtitles, if rephrasing doesn't help with fitting within 42 characters maximum per line.

Hint: When breaking a subtitle into two lines, don't leave a space at the end of the first line. It will be added to the number of characters and can bring the reading speed to over 21 characters/second, where the only edit necessary to bring it back down would be deleting that invisible space at the end of the first line.

However, this would break apart the proper name "James Tiptree, Jr.," which should be avoided. Proper names are an example of a linguistic unit that should not be divided. In this case, we could consider breaking apart another linguistic unit:

Here, we broke apart the verb and the complement, but as a result, achieved more balanced lines. Some linguistic units, like proper names, are more inseparable than others, so if you need to go against non-breaking rules, it is better to break apart another unit and keep them unseparated.

This type of rephrasing can be referred to as "compressing" or reducing text. Depending on the context, it may be possible to omit some information, if previous subtitles or other sources (a slide, the viewer's general knowledge) are certain to fill the blanks anyway. This way, you can avoid breaking apart any linguistic units. You can learn more about compressing subtitles from this guide.

Sometimes, there is just no way to break the line without splitting a proper name or a grammatical unit, like separating an article from the noun it refers to. In these cases, you can often split the subtitle itself into two separate subtitles, which will allow you to break the line longer than 42 characters. To split a subtitle, shorten the subtitle's duration using the sliders on the timeline, and then insert a new subtitle in the resulting gap by clicking the "plus" button on the subtitle below it.

Important: after you've added a new subtitle while translating, the number of subtitles in your translation will increase, so there will no longer be a 1:1 correspondence between the position of the original subtitle and the translation box. To ensure that you don't start translating subtitles in the wrong boxes and thus de-synchronize the translation, unlock the subtitle scrolling using the "padlock" button at the bottom of the interface, and scroll your translation so that the the position of first untranslated subtitle corresponds to its equivalent in the original subtitles, and then re-lock the scrolling by clicking the "padlock" button again.

It is impossible to provide a list of rules to use with all the languages in the world. Line-breaking rules depend largely on the target language's grammar (and morphology) - on what kind of units are "wholes" in a sentence. The list below contains some rules that can be used in English and several Western-European languages and can serve as an inspiration in searching for similar rules in your own language.

The examples below show places in a sentence where lines can be broken. The ideal places to break are marked by the green slashes, while the orange slashes indicate places where it would be OK to break the line if breaking at the green slashes were not possible. Note that you don't normally break lines that do not exceed 42 characters; the examples below are simply used to show various grammatical contexts where a sentence can be broken, not to suggest that you should break subtitles into very short lines. Every language has different line-breaking rules, but the English examples below can inspire you to search for these rules in your language.

Notes: Breaking lines at clause boundaries is usually a good strategy, and commas and conjunctions (like "and") often indicate clause boundaries. The first orange slash breaks up a clause but keeps together a noun+verb combination; "of" is a preposition and the line break should not follow it. The second orange line break separates a subject from the predicate. This is not ideal, but it's better than breaking the line after "will," since if possible, auxiliary verbs should not be separated from other verbs in grammatical constructions.

Notes: The green slashes are again placed at clause boundaries. The first orange slash is there to make sure that the word "to" is not separated from the infinitive, and the second is placed so as not to separate "to" from the noun phrase that the preposition refers to ("the store"). Remember that the orange slashes are various imperfect line-breaking options, and would never be used at the same time to create short lines; the point is, if you have to, you can break the clause after "wants" or after "to go." The third orange slash separates a subject from the predicate, but avoids separating the auxiliary verb ("are") from the participle ("closed"). In other words, line breaks should be placed in ways that don't split up complex grammatical constructions. The last orange slash splits off an adverbial, an expression that tells us something about a sentence or a verb, and thus, can often be put into the next line, as something "extra" that describes the sentence.

Generally, deciding what to put at the end of a subtitle is similar to selecting where to break a line. Below, you can learn about the most important differences between ending a subtitle and breaking a line.

Note that this type of "line-breaking" does not always follow the pauses in the talk. Make sure that the way you end the subtitle doesn't reveal something that the viewer is not meant to know about yet. For example, imagine the speaker says "I tried the experiment one more time, not sure if it would work, and it did!," and you could make it one subtitle. However, if the speaker throws up their hands in joy when saying "and it did!," you should end the subtitle after "work," not to reveal the "success" too soon, even though the line length would allow you to keep the whole sentence in one subtitle. If you want to learn more about how to synchronize the subtitles with the talk, see the guide to transcribing talks.

I hope that makes sense. The line breaks are formatting and are not visible to you, but they are there. I sometimes eliminate and recreate them multiple times before I am happy with the layout on multi-line subtitles.

Captions and subtitles are a lot more complex than most people realize. While they may seem interchangeable, understanding the differences between captions and subtitles is an important step in determining the most appropriate option for your video content.

In the accessibility space, timed text files are usually intended to pair the transcription of dialogue and/or sound to media. The timing information allows the text to be synchronized to specific time codes of media. Both captions and subtitles are forms of timed text.

Subtitles can appear in a variety of styles, but often appear as white or yellow text outlined in black, or with a black dropshadow. It is also common for subtitles to mimic the appearance of captions. Placement varies, but is often centered at the bottom of the screen for readability and ease in translation. When graphics or text appear in the lower third of the video, subtitles are typically placed just above the graphic/text. Subtitles can sometimes be customized by viewers, depending on where media is being viewed. 589ccfa754

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