Hola Carlos,
First,
I want to eternally thank you for the comprehensive translation and subtitling of the seminar. I've done it before for some crazy Adam Curtis documentaries and I know it takes a lot of time, persistence and hard work. I've been dying to introduce Tom's theory to others but it's mostly pseudo-knowledge to me yet, Tom's organized approach in seminars is the best introduction possible. I thought about translating the seminar without even knowing it was under completion, but was too lazy, so I've started transcribing the CMN interview for future translation, which is shorter and the complex theory is not covered in detail.
Primero,
Me gustaría agradecerte eternamente por el comprensivo trabajo de traducción y subtitulado del seminario. Lo hice anteriormente con unos documentales medio locos de Adam Curtis y se el arduo trabajo, tiempo y persistencia que hay que dedicarle. Me estuve muriendo de ganas de introducir la teoría de Tom a otros pero por ahora la mayoría de lo tratado es pseudo-conocimiento para mi, el enfoque organizado de Tom en los seminarios es la mejor introducción posible para cualquiera. Pensé en traducir el seminario sin saber que tal traducción estaba ya casi terminada, pero fui muy vago y empecé a transcribir la entrevista de CMV para una futura traducción, la cual es mas corta y la compleja teoria no es tratada en detalle.
Second,
About legibility, this article explains it better than I could:
Quote:
“There are certain fonts that lend themselves well to web design, others that work better in print and others that are optimal for use against dynamic content such as moving images.
While web fonts such as Tahoma, Verdana and Georgia are great for use in web media, they were designed to work well in static design environments where the background doesn’t change.
There are three fonts that are widely used for subtitles in films and documentaries. They are:
Univers 45
Antique Olive
Tiresias
These three fonts work well as subtitles over dynamic content and will allow you to communicate most effectively with your audience.
When you design your subtitles, you will need to keep in mind that moving images interact with your top layer subtitles. For example, if your subtitles are white and they rest on top of a similar white tone in your image, the text will be difficult, if not impossible to read.
To ensure this doesn’t happen you should use a black outline around your text. This helps ensure your text will be viewable even against common black and white backgrounds.
Alternatively, some filmmakers use a yellow font for their subtitles. However, even if you decide to use yellow subtitles you should nevertheless use a black outline (and possibly even a soft shadow) around the text to ensure its readability.”
Full article with images here:
http://www.lightsfilmschool.com/blog/su ... sizes/338/
Segundo,
Sobre legibilidad, el articulo de arriba lo explica mejor de lo que yo podría.
Lastly,
Abbreviations and standards as I said, only a few, like “labs” and other regional mannerisms that could be changed for a more fluid read for Spanish viewers from other countries.(I will cover in detail next week). Wikipedia to the rescue:
http://en.wikipedia.org/wiki/Standard_Spanish
Por Ultimo,
Abreviaciones y estándares, como dije, solo algunos como “labs” y otros manerismos regionales que pueden ser remplazados logrando una lectura mas fluida para los televidentes de habla hispana de otros países.
Nacho
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