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A Call for Quality Captions

Posted by Emma on June 15, 2011 at 8:39 am. Captioning, Consumer Advisory Board, Subtitling

CaptionMax has a dedicated Consumer Advisory Board with experts in all kinds of accessibility. As guest bloggers, we ask our board members to share their accessibility stories or voice their concerns.

by Carl Jensema, Ph.D.

Photo of a guitar with captions "lively guitar music"

Tonight my wife and I sat down to watch Country Strong.

I don’t know who captioned it but they gave a textbook example of how not to do it.  The whole movie is about music, but NONE of the music was captioned.  The dialog was captioned and then when someone started singing there would be no captions at all for several minutes until the song was over.  Extremely frustrating.  I stopped watching the movie.

We’ve had captioning since 1980 and some caption companies still haven’t figured out how to do it!

(more…)

Tech Time: Start of Program vs. Start of Video

Posted by Emma on June 8, 2011 at 8:39 am. Captioning, Techy

Are you just starting out the video world? Did you know that there can be a difference between the “start of program” and the “start of video”? That difference can be very important to your caption timing!

The Start of Video is the first frame of the video file.

The Start of Program means the first frame of the actual show itself. There could be some packaging (10 seconds of black and bars/tone) before the of the start of the program.  For broadcast video, this frame is usually 01:00:00;00.

When it matters:
1.  Master tape: When sending us a master tape, we will use the start of the program to time our captions or subtitles. Normally a tape will have that extra packaging, so the start of the video won’t actually be that important to us.

2. Web files: When you send us a .mov, .wvm, .flv, .mp4 (etc.) for web captioning, the start of the video is important. We time our captions to with the start of the video because there is no timecode to read and the start of the video becomes our anchor point for all caption timing.

Happy timing!

Captions and YouTube

Posted by Emma on June 1, 2011 at 8:47 am. Captioning, Techy, YouTube

Now you have a fancy YouTube page and you’ve gone to all the work to add captions. How can you make sure that they’re easy to find?

It’s easy, you can force the captions on. This is our option of choice on our CaptionMax YouTube page. It’s easy to do and worry free!

Playback Setup
*This tip only applies to your own personal, or corporate, YouTube page.

- Log-in to your account. Navigate to your Account Settings page.
- Select the Playback Setup. This is the menu allows you to adjust your video playback settings, adjust captions, and adjust annotations.

Graphic of the Account Settings Page. Naviate to the Playback Setup section.

This option will ensure that whenever captions are present on your videos, they will automatically default to ‘on.’ After all, you’ve done all that work, you might as well show it off!


Tech Time: Subtitles for FCP

Posted by Emma on April 6, 2011 at 8:44 am. Captioning, Subtitling, Techy

There is another cool way to add subtitles to your video! Did you know that you can embed subtitle files into Final Cut Pro (FCP) project? It’s really easy to do and your subtitles always look sharp.

Image of embedded subtitles (white text with a semitransparent background)

(This technique is available for versions 5.1.2 and later. Sadly, this won’t work for FCP versions older than 5.1.2 or Final Cut Express.)

What you need:

An XML file with PNG graphics that matches the timing of your FCP sequence. (That’s it!)

How does it work?

The XML file with PNG graphics provides an open, transparent, graphic format that anyone can utilize with a wide range of tools.

Here’s the basic idea; however there are a few more steps when working on an actual project.

First, import the .xml into Final Cut Pro.

Graphic showing the steps of importing an XML into FCP.

(The XML import allows you to match your subtitle sequence to your master program sequence. Just scroll through your list of sequence setting choices.)

(A new sequence is created that includes only the timed subtitle PNGs. Open the sequence and take a look. Pretty snazzy!)

Second, open your finished video sequence and drag your CaptionMax Subtitle sequence onto the track above your finished video.

Lastly, render the finished video sequence with subtitles and play it in FCP to test it.

Now you’re ready to export your video out of FCP and into any format. Your video will have open, accessible captions that look very sharp!

If you have FCP & an excellent Video Editor, then we recommend this format to add open captions to your video file.

Does this work in other editing systems?

This is the workflow we recommend for FCP but Avid & Blu-ray both have similar set-ups.

- Avid users with the Avid DS subtitle plugin can get an Avid DS text file.

- Blu-ray also uses XML/PNG files, but the XML file is totally different than the FCP XML. Exports for FCP & Blu-ray are, unfortunately, not interchangeable. Be sure to clarify your editing system when talking to your project manager!

- Users of other editing systems are out of luck—there isn’t a subtitle file that can be imported by, for example, Adobe Premiere, unless you’ve heard something we haven’t!

Happy editing!

Tech Time: Videos with Embedded Captions

Posted by Emma on March 23, 2011 at 8:32 am. Captioning, Techy

Quicktime captions are IN!

Did you know that CaptionMax can create Quicktime/iTunes/iPod videos with embedded captions?

The very cool final product is your finished .mov with embedded caption data.

An example of captions in Quicktime player.

Pros:

1. The newest versions of Quicktime can only use embedded captions, so you won’t have accessibility problems by using this new method.

2. Embedded captions work for videos played in the iTunes player or on Apple devices such as iPods, iPhones, Apple TV, iTunes, etc.

3. This is the only web captioning format that can be roll-up, have italics, and have music notes!

4. With Quicktime version 7.x, Apple allows the video package to contain a Closed Caption Track. This works for both Mac & Windows versions of Quicktime.

5. Captions are turned on and off via the ‘Show Captions’ command in the Play menu.

Cons:

1. This method will not work with videos that are played in other players, such as Flash or Windows Media Player. The CC on/off controls are only part of the Quicktime/iTunes players.

2. If you have a .mov with embedded captions and it is later transcoded, the captions may be lost. Trancoding most likely will strip the captions.

3. The positioning can be a little weird when the captions are played in Quicktime, with centered captions slightly off center or dropped characters. This happens especially in high definition and it’s a function of the Quicktime player’s decoder.

Just another cool technology update. Have you used caption embedded .movs? What do you think?

Access in the Classroom – It’s Not Just Braille.

Posted by Emma on March 16, 2011 at 11:12 am. Audio Description, Captioning, Consumer Advisory Board, Subtitling, Techy

CaptionMax has a dedicated Consumer Advisory Board with experts in all kinds of accessibility. As guest bloggers, we ask our board members to  share their accessibility stories. Our next CAB guest blogger is Joya Bromeland, a 6th year itinerant teacher for blind and visually impaired students. Joya works with many different schools to make technology accessible to all students. In the past year, she has been developing this great resource to empower classroom teachers. She has been great enough to share it; so head on over and check it out! Take it away, Joya.

A row of computer monitors on a desk

I’m one of Louis Braille’s biggest fans, and providing braille and braille instruction continues to be an important part of my job, but the multi-media classroom of the 21st century requires that my students who are blind and visually impaired be just as skilled in areas of technology, self-advocacy and creative problem-solving in order to have basic access to classroom tools.

As an itinerant Teacher for students who are Blind and Visually Impaired (TBVI), I collaborate with teachers in roughly 18 different schools to ensure that our students have access to the same instructional materials, experiences, and opportunities as their sighted peers.  It’s an ambitious and necessary goal that leads to alternative pathways to access and success: braille, tactile graphics, refreshable braille displays, speech screenreaders, audiobooks, audio description, keyboard shortcuts, video magnification and more.

I start with the assumption that every element of the curriculum can be accessed nonvisually—whether it’s Algebraic graphs, diagrams of the moon phases, PowerPoint assignments and board work, websites, Twitter, Moodle, email, newspapers, books, abstract visual concepts, and videos.  Then, through collaboration with general ed. teachers, braillists, and my fellow TBVIs, we figure out a way to make it happen through accessible formats and specialized instruction.

Our students become experts at thinking outside the box, maneuvering around it, giving it a good kick every once in a while—all inherent to the process of full and independent participation at school among their sighted peers.  It’s not surprising we work with such great students (and I can’t wait to see what they bring to our future!)

Of course there are daily bumps in the road to access.  There are days when I am on the phone trying to reach publishers of an online textbook because their “accessible version” of the book is not accessible to my students.  Or I’m sending accessibility standards to the “Contact Us” links on websites after a frustrating session with a student that probably led to me scanning, pasting, or retyping the web text because it was inaccessible via screen reader.  And this spring, we TBVIs will continue the campaign for reducing bias and providing equal access to standardized tests for our students. But more and more we have the law to back up our expectations for accessibility with ADA, IDEA, NIMAS, and now the 21st Century Communications and Video Accessibility Act.

Currently, there is limited availability of audio described videos for specific curriculum, though these videos are being produced by educational publishers and used by teachers at increasing rates.  Working with my students, I understand the value in providing vivid audio descriptions with accurate vocabulary in the 5-minute science video shown at the beginning of class, or the history video shown to build context for a unit of study.  Access to AD video leads to opportunity for my students to develop the same level of awareness and understanding of concepts as their sighted peers.  Publishers and schools need to act on this value in order to make audio description a real possibility in the classroom.

I’ve really appreciated the resources CaptionMax has made available to teachers in Minnesota to help spread the word about Audio Description and teach us how to access it.  It’s also been exciting to be a part of the Consumer Advisory Board, where we experience some of the rigorous process that goes into high quality audio describing. I’m hopeful that the Video Accessibility Act and the committed work of CaptionMax will lead to greater availability of these videos and ultimately greater access and opportunity for our students.

Top 5 Tips to Beat the Captioning Headaches!

Posted by Emma on March 9, 2011 at 9:35 am. Audio Description, Captioning, Subtitling, Techy, translation

Captioning doesn’t have to be a painful process. In fact, adding accessibility to your media (broadcast, web, whatever) can be pain free! Here are our 5 Top Tips for keeping your captioning/subtitling/transcription costs down and finding the right provider for you!

Tip 1: Plan Ahead

Include captioning/subtitling/transcription costs in your initial project budget and timeline to get the best deal and eliminate those unexpected gotchas at the end. Adding captions can significantly boost your SEO and drive more potential clients to your website. Any captioning services worth their weight will offer you a free quote for your project.

Tip 2: Research

Look at lots of samples! Many companies will have a sample gallery where you can see a small bit of all the services they offer. Find the the look and style that you like best. Find out the difference between web and broadcast captions. Ask your friends who they use. Get recommendations! Ask your prospective captioning company any questions you have. All the best have experts on staff who have added captions/subtitles/you name it to everything short of a toaster oven (we’re still working on that one). Those experts can help you find the best fit and the most pain-free process for your specific video!

Tip 3: One-Stop Shop

Do you need tape encoding? Are you making a web video and a DVD? Do you need multiple language translation? Interested in going green with a tapeless work flow? Is sending a hard drive your preferred method? The best companies can handle your project from start to finish. These extra technical services let you skip the hassle of contracting yet another post-house that can charge you double for the same product. Take advantage of your captioning company’s techy knowledge, and you’ll work with fewer go-betweens and have fewer headaches!

Tip 4: Turnaround

Sometimes you need it yesterday! Some projects will always have irritations and bottlenecks as their deadlines approach. Make sure that you talk to your captioning company about clear turnaround deadlines. Your captioning company should be able to clearly explain their turnaround times for the file types you want. Be clear with your scheduling needs and confirm a guaranteed turnaround time. But if you’re down to the wire, go with the company that delivers on time — every time!

Tip 5: Customer Service

Have questions? Don’t understand something? While there will always be variations in prices between captions, subtitles, transcription, etc., your captioning company should provide you with excellent customer service. A dedicated project manager can answer your questions and guide you smoothly through the captioning/subtitling/transcription process. Choose a company with years of experience in a wide range of projects, subjects, and technologies. Find a company with real people who speak real-people language and not a bunch of industry (yes, there is a captioning industry) jargon.

Fun Word Friday: Word Origins

Posted by Emma on March 4, 2011 at 9:24 am. Captioning

by Kirsten Dirkes

A curate’s egg: something which has good and bad parts; traditionally, it meant something which was rendered useless by the bad bits. From a Punch cartoon in which a curate won’t condemn his entire egg.  Example: The Liberty Bell is a curate’s egg of good patina but bad ringability.

Ketchup: I know you’ve heard this word before, but you may not know its origin.  In fact, I’m sure you don’t, because apparently no one does.  It likely derived from either Malay or Chinese words back in the day before it contained tomatoes.  Yes, all those labels that state “tomato ketchup” are not redundant, because even in the Western world, ketchup started out as a thin sauce made from pickled walnuts or mushrooms.  Prior to that, it was a fish sauce in Asia.

Banana ketchup: No, I’m not done talking about ketchup.  Who knew it was such a fascinating topic?  Banana ketchup (bananas, vinegar, sugar, garlic, onion, etc) originated in the Philippines during World War II, when they had tomato shortages, and it’s still highly popular there.  It’s dyed yellow or red and reportedly tastes similar to tomato ketchup, only sweeter, and now I know what to get my toddler for his birthday.

Kugel ball: a sculpture consisting of a large granite ball that spins on a thin layer of water.  The term originated when someone who obviously wasn’t that bright combined the English word “ball” with the German word for…“ball.”

Yat dialect: a dialect of English spoken in New Orleans; has many similarities to New York dialects. From the phrase “Where y’at,” which means “How are you?”  In these days of cell phones and actually needing to know where the speaker is at, I anticipate this use of the phrase might lose popularity soon.  Now if only someone would invent a device that makes the phrase “give 110%” obsolete.  Oh, wait, they did: math.

Gulliver’s Travels (1939)

Posted by Emma on March 2, 2011 at 9:36 am. Captioning, Movies, Subtitling, YouTube, translation

by Jason Mitchell

Our resident public domain and creative content expert, Jason, is back to share his vast knowledge of early animation.

Gulliver's Travels 1939 Film Poster

I’ve talked about Fleischer Studios before, and I will undoubtedly talk about them again.  The studio was a major force in the early years of animation, and they are largely forgotten today.

Walt Disney did the unthinkable in 1937, releasing Snow White and the Seven Dwarfs, the first feature-length animated film.  Just two years later, Fleischer Studios released the second with Gulliver’s Travels.

Gulliver sits in the Lilliputian village

Max and Dave Fleischer, the brothers who co-founded Fleischer studios, had wanted to produce a feature-length animated film since Disney announced production of Snow White in 1934.  Paramount, their distributor, refused to allow such an ambitious project until Snow White proved to be successful.  Paramount’s desire to have Gulliver ready for a Christmas 1939 release meant that it had to be completed in a third of the time Disney took to produce Snow White.  Other issues also troubled the production, including a relocation of the animation studios from New York to Miami after a labor strike in 1937.  As a result, the film falls short of the technical achievements of Disney’s animated features.  Nevertheless, Gulliver was a box office success when it opened in 1939.

Gulliver implements some of the Fleischers’ animation innovations.  The character of Gulliver was animated using a rotoscoping technique.  The actor Sam Parker was filmed performing as Gulliver, and then the film of his performance was traced as an animation reference.  This technique gave Gulliver’s movements a very lifelike quality, which contrasts with the cartoon-like Liliputians.

Tied up Gulliver holds a Lilliputian

The opening title sequence features realistic footage of a three-dimensional ship.  Max Fleischer’s Tabletop 3D Setback invention was capable of photographing actual 3D background sets to be incorporated in animation.  The device was used more prominently in some of Fleischer Studios’ animated shorts.  Play Safe has an especially cool sequence with a train maneuvering through some cliffs and into a tunnel.  Disney’s competing multiplane camera wasn’t in use until three years after the Setback was introduced.

Gulliver’s Travels included several songs that became popular outside of the film and were used in later Fleischer shorts.  The character of Gabby also was given a series of spin-off shorts.  Mel Blanc, noted voice actor responsible for voicing many Warner Bros. and Hanna-Barbera characters, portrayed Gabby in Gulliver’s Travels and the later shorts.

Gulliver’s success would lead to the production of Mr. Bug Goes to Town, the Fleischers’ second feature-length film, but a growing feud between Max and Dave, along with growing financial issues for the studio, led to the studio being absorbed by Paramount in 1941.  Today, many of the films Fleischer Studios produced are in the public domain, including Gulliver’s Travels.

CaptionMax has recently added a captioned, video described, and Spanish translated version of the film to the CaptionMax YouTube page. Check it out to see if you notice the rotoscoping & 3D Setback techniques that made this a groundbreaking film.

Tech Time: Aspect Ratio (Part 2)

Posted by Emma on February 23, 2011 at 9:58 am. Captioning, Subtitling, Techy

This is Part 2 of a two part series about aspect ratio. In Part 1, we talked 4:3 and 16:9 aspect ratios. Now, we’ll talk anamorphic aspect ratio & how aspect ratio affects captions and subtitles.

Anamorphic widescreen

Some widescreen programs, such as HD TV, are just straight-up rectangles. But there’s also a type of widescreen used for standard definition programming that people watch on TV sets (broadcast and DVDs), because the producers don’t know what kind of TV the viewers are going to use. For this type of widescreen, called anamorphic widescreen, the rectangular picture is horizontally squeezed into a square for delivery to the screen. The sides are pushed in, and this makes objects look taller and skinner until the picture is stretched back out. When played on a 16:9 screen, the picture will be stretched out again. When played on a 4:3 TV, it’s either zoomed-and-cropped or letterboxed, depending on the TV’s settings.

The key point to remember about anamorphic video is that it is stretchy. It is a widescreen 16:9 rectangle and should be treated as widescreen, but it is disguised as a 4:3 square, and sometimes you will see it in disguise.

How to determine if a file is true 4:3 or anamorphic

It’s tricky. This isn’t a numerical value that you can just look at on a deck. You actually have to watch the video to see if things “look right.” Look for spots with people, circular objects, and on-screen text. Is something that’s supposed to be round, like a planet or the sun, shaped more like an egg? Are all of the people suspiciously gaunt and scrawny? Probably anamorphic. Be sure to check the video in several places, because some people really do have kind of skinny faces.

Most importantly…ask for help! A second set of eyes is very important. Even if you do this all the time, you will start to second guess yourself and start thinking everything looks stretched or squeezed, even physical objects in real life. This is called anamorphic madness (not really, we just made that up).

Does aspect ratio affect closed captioning?
Not at all. The captions are drawn by the TV or player’s decoder, and it’s the decoder that determines the absolute placement of the caption text on screen. A caption file contains coordinates for where the captions should display on the grid, but the size and screen location of the grid are determined by the decoder. Most TVs draw the captions after any manipulation of the image.

Does aspect ratio affect subtitles?
It could! The producer has more control of where and how subtitles are placed. For anamorphic video, when the video is stretched into a rectangle, the subtitles may also be stretched causing them to look squat and blocky. Try using a narrow font so that when the video is stretched the subtitles will look normal. For letterbox video, many people like to put the subtitles in the black matte and not on the image. Normally, that is the best option but you always have to watch that the subtitles stay in title safe.

Hopefully we’ve answered a lot of questions about aspect ratio. Is there anything else you want to know or want to add? Leave us a comment and we’ll get back to you ASAP!