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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!

Tech Time: Aspect Ratio (Part 1)

Posted by Emma on February 16, 2011 at 9:26 am. Captioning, Subtitling, Techy

Part 1 of a two part series about aspect ratio. First, we’ll talk 4:3 and 16:9. What is the difference? What do those aspect ratios look like? Then, in Part 2, we’ll talk anamorphic aspect ratio and how aspect ratio affects captions and subtitles.

You’ve probably heard about aspect ratio before, even if that is not the term that was used. Who knows, you might even have been in an argument about widescreen versus pan and scan.

Aspect ratio is a number that describes how wide an image is compared to how tall the image is. It describes the shape of the image.

First, a little terminology clarification because it can get a little complicated…
1. 4:3 and 16:9 (occasionally 4×3 and 16×9) are the common notations and values for aspect ratio.

2. The ratio can also be expressed as a decimal rather than with a colon: 4:3 = 1.33, because 4 divided by 3 is approx 1.33.

3. Note that the size of an NTSC picture is generally said to be 720×480, which isn’t precisely 1.33. That’s because it’s measuring lines instead of square pixels, and we really don’t want to get into pixel aspect ratio yet. (Yikes!)

4:3 (Regular NTSC TV)

This is the aspect ratio you’re thinking of when you imagine an iconic TV, the square with the rounded corners. The image is almost as tall as it is wide. Until a few years ago, all American television looked like this.

Now most TV is produced in 16:9. If you watch a widescreen TV show on an old-school TV, it will either be letterboxed (see below) or the sides will be cut off. This depends on the settings on your TV or receiver and also what flags the broadcaster is transmitting. Most networks require that programs delivered in 16:9 HD respect 4:3 title safe, so text is in the center of the frame and not cut off for people using standard sets.

Letterboxed 4:3 (…or “I hate those black bars”)

Letterboxed video is still 4:3. The video itself is not actually widescreen. Lots of people get this wrong; even some software gets it wrong. Letterboxing is a way to simulate a widescreen picture on a 4:3 monitor. The actual active video is presented as a widescreen rectangle, and the rest of the space is filled up with black mattes on the top and bottom. But the overall image itself is still 4:3.

The mattes do not (we repeat do not) cover up any of the picture. You can confidently assure your grandma that the black bars are not stealing any television from her. Seriously, some people do get really upset about letterboxing, but not letterboxing is what takes picture away. When you buy a “full screen” DVD of a movie, if they still sell those, there won’t be any black bars, but the sides of the picture will be cut off (see the first image in this article) in order to make the rectangle into a square. Beautiful scenery and even whole characters can be excised this way. These zoom-and-cropped, pan-and-scan full-frame releases aren’t nearly as common as they used to be, but you’ll still see them from time to time.

16:9 (Widescreen)

This is a rectangle. If you have a TV that is a rectangle, congratulations, you will see the entire widescreen picture in full screen. A 4:3 picture will be either pillarboxed (see below) or stretched out in freaky ways. We can’t even tell you how many big fancy plasma TVs we’ve seen that have had their settings all wrong, including the aspect ratio. The tears, the sadness, the gnashing of teeth!

It is possible to have a 16:9 widescreen video that also has letterboxing—it means that the active picture is ultra-widescreen, like 2.35:1, and is being fit into a 16:9 aspect ratio. That isn’t usually relevant to standard definition, though; it generally happens when a very wide film is being shown on 16:9 HDTV.

Just because an image is 16:9 does not mean it is high definition. Standard definition video can also be 16:9, almost always anamorphic…

Pillarboxed 16:9

Pillarboxed video is when a 4:3 video displayed on a 16:9 screen. In order to display the video in its correct proportions, black bars are added to along the side of the frame. Pillarboxing will be used instead of displaying a stretched video. And just like a letterboxed video, the black mattes do not cover up any of the picture.

Whew, got all that? Any questions? In Part 2 we’ll discuss anamorphic video and how aspect ratio affects captions and subtitles.


DVD Subtitles are Unreadable

Posted by Emma on February 10, 2011 at 9:54 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.

I’d like to comment on a very annoying trend that I see in subtitling. I’m deaf and I use captions or subtitles on all of the video media I watch. I’ve also been involved in television captioning research for more than 30 years, beginning with my appointment as Director of Research at the National Captioning Institute back in 1979. Before the first closed caption television decoder was manufactured in 1980, quite a bit of research was done to determine the font and background characteristics that made the captions most readable. The first decoders presented captions as white letters in a black box, and 30 years later television decoders still use that method.

There is a reason for it: a black box with white lettering makes the most readable captions.

In recent years there has been a trend toward subtitling movies and other programs with a white or yellow font without a background. This often makes the subtitles virtually unreadable.  The difference in readability is obvious; check out the examples below. I and other people who use subtitling find it very frustrating to have unreadable subtitles spoil what could otherwise be an enjoyable program.

Screen shot of a man in a space suit with easy to read subtitles in a black box at the bottom of the screen.

Screen shot of a man in a space suit. White subtitle text blends into white space suit making it difficult to read.

What do you think? Tell us about your subtitle experience.

The CaptionMax Reflection List

Posted by Emma on December 29, 2010 at 9:42 am. Audio Description, Captioning, Subtitling, Techy

Picture of a rock totem in front of a calm body of water at sunset.

Kate’s latest blog inspired us to reflect on some of the things that we’ve tried and learned this year at CaptionMax.  We are so proud of the staff for working so incredibly hard to send the best captions, translation, and audio description out the door!  When we look back at all that we’ve done we feel more rejuvenated and excited for what next year will hold.  In January, we’ll share some of our blogging goals for 2011 with everyone. Year two is sure to be filled with lots of fun projects, both big & small, and we would love to hear your feedback.  But first, to start it off right, let’s look at some of our accomplishments in 2010.

CaptionMax’s 2010 Social Media Reflection List
We are proud that we…
- Won grants for more description (we are so excited to be able keep our describers busy)
-  Reached out to supporters of description
Shared our accessibility efforts with MN Representative Keith Ellison
-  Created a video explaining description
-  Posted more fully-described public domain videos on our YouTube page
-  Created custom videos about our company and about how to caption for YouTube
-  Launched our facebook page and included more staff updates and quizzes (seriously, isn’t our captioning trivia the best?)

Alright. Enough with the pat on the back.  There’s a lot to do next year and we can’t wait to share our plans with you!

The 21st Century Communications & Video Accessibility Act of 2010

Posted by Emma on September 30, 2010 at 8:49 am. Captioning, Subtitling, Techy

by Gerald Freda

The 21st Century Communications & Video Accessibility Act of 2010 (aka S.3304) was passed by the HoR on Tuesday, 9.28.10. What does the passage of S.3304 mean for closed captions and video description (aka audio description) accessibility services? Well, glad you asked!

Closed Captions
The new law will require programs that contain captions when broadcast for television to also have captions when distributed and delivered over the Internet. It gives the FCC the latitude to either approve or deny exemption requests for Internet caption delivery under the new rule within the first 12 months. Programs (clips, shorts, webisodes) created specifically for the Internet are not required to have closed captions.

Video Description
Under Section 202 of the new law, the top 4 broadcast channels and the top 5 cable channels in the top 25 most populated markets in the country must provide 4 hours per week of video description. After 2 years of the video description service, the FCC must provide a report to Congress on the overall service implementation. The law gives the FCC permission to increase the hourly amount to 7 per week after 4 years from the service launch date by the top channels and in the same demographic markets mentioned above.

The law also states that after 6 years, the FCC must ensure that the video description service is expanded to reach the top 60 markets of the country. At the 9-year mark, the FCC must report to Congress if there is a need to broaden the reach of the service to additional markets. At the 10-year mark, the law gives the FCC the right to further expand the service to 10 new markets yearly until the 100% nationwide coverage is achieved.

We’ll continue to update you as the law comes into effect. Congratulations to everyone who advocated on behalf of increased accessibility.

My Missed Opportunities: Part 2

Posted by Emma on September 29, 2010 at 8:34 am. Captioners, Captioning, Subtitling

by Davis Wille

I’m back with my final two top-ranking missed opportunities:

Sports

Davis stares at a laptop instead of the TV. "Monday Night Football... or Monday Night Google Reader?"

General sports knowledge—definitely in the lacking department for me. I’ve been forced to work on various “classic” games—their words, not mine–in baseball, basketball, football, and boxing, and the chances of me recalling anything of significance upon captioning them would be slim to none. I could have finally had my in with sports-minded peers, but, once again, I dropped the ball (that’s a sports thing, right?).

Health

Davis examines the back of a pill bottle. "Wait... What is this thing you call a multivitamin?"

Health-related programs are more common than I would have guessed coming into the job, but their abundance is unavoidable, whether the topic be of physical health of one’s body or of the environmental health of Mother Earth. “Surely, Davis, you must have picked up something from this category of programming,” you might postulate. “You must be getting all kinds of relevant insight to better yourself.” First, see Missed Opportunity #1. Second, you should know better by now.

Of course, this list is only a sprinkle of missed exploration out of dozens. Not many people can say they have new areas of interest consistently intersecting with their professional life. The variety that comes with being a closed captioner is far and away one of the most refreshing aspects of the gig and allows all of us to maintain just the right amount of sanity (although I cannot vouch for everyone). Subsequently, this requires a sort of “on to the next one” mentality, disallowing any long-term connection with a subject. Of course, one could take work-introduced interests into their free time, but at that point, the line between work and play becomes too blurred for my liking, and next thing I know I’m fine-tuning my entredeux stitching technique. Maybe it’s not too late, though. Maybe there’s still time to liven up my introductions.

My Missed Opportunities: Part 1

Posted by Emma on September 22, 2010 at 8:35 am. Captioners, Captioning, Subtitling

by Davis Wille

When questioned about the closed captioning profession, there’s a fairly routine checklist of questions triggered internally. In fact, the song and dance has become so habitual, my mind nearly clicks over to autopilot when entering these examinations by fascinated inquirers. My role in the Q&A typically includes one, if not all, of the following replies:

“No, my typing skills are not otherworldly.”

“No, I didn’t know such a company existed in Minneapolis either.”

“Yes, we caption shows you may actually watch.”

“The type of captioning you’re complaining about is called ‘realtime.’ That is not what I do.”

A rehearsed explanation is then prompted regarding the differences between realtime and offline captioning, ultimately ending with a life-altering appreciation on their end for the craft, as well as for those who have sacrificed their lives for it. Or something to that extent.

But amongst these banal-yet-appreciated curiosities, one notable inquiry tends to pop up every so often: “Oh, so I bet you’ve picked up some unusual new hobbies along the way, right?”

Usually I’ll just shrug and give a “No, not so much,” or maybe “Har, har, har. No, I don’t go home and attempt elaborate French recipes after captioning a cooking show.”

But why not?

With this plethora of knowledge flowing in and out of my headphones on a daily basis, it’s a shame I’m letting such potentially grand opportunities for new arenas of interest pass me by. Hours and hours of research for intensely specific topics disappear from my mind moments after a projects’ completion. In a perfect world, I wouldn’t have let this happen; I would utilize this varied knowledge to expand my character and perspective of everyday existence. Instead, they’ve become nothing short of missed opportunities. This is a two part blog listed here are my three top-ranking instances. The other two will follow next Wednesday.

Cooking

Puzzled, Davis looks at the back of a frozen pizza. "The only cooking instructions I need are found on a white sticker underneath a circular piece of cardboard."

So many cooking shows, so many recipes. Sure, most of the food items were absurd and intended to provide something closer to entertainment than realistic weekday dinner cuisine, but these dishes would have impressed. I mean, really impressed. Alas, my mother continues to accept my meal variety to not stray too far from the frozen pizza aisle at Target or the nugget-based food group  under the golden arches.

Hunting

Davis points an imaginary gun at a laptop screen. "The closest I've ever gotten, or will get, to hunting."

A controversial hobby, no doubt, and not something I necessarily have any interest in. Nonetheless, I’ve captioned an exorbitant amount of hunting and fishing shows. Seriously. Had I been a hunter of any kind prior to my CaptionMax life, my skills would be insane at this point. By now I’d be winning competitions on a weekly basis from the tips and secrets just dropped in my lap, thus inevitably leading me to a lucrative career. Classic missed opportunity.

Arts and Crafts

Davis sews a blanket. "I don't think this is right. Isn't this blanket already finished?"

As soon as I realized I was going to be captioning a seemingly endless amount of arts and crafts shows—sewing, scrapbooking, beading, costume making, you name it—I should have jumped on at least one of them. The stress reduction of gift giving alone would be worth it, even with the unavoidable scrutiny coming from my social circles.

Maybe I will develop a new talent. Check back next week for more of my missed opportunities.

Short Form Captioning, YWKIS?

Posted by Emma on August 25, 2010 at 9:19 am. Captioners, Captioning, Subtitling

by Kati Stevens

Preface: The software we use to caption allows us to write in short forms. After typing in those short forms the software “auto corrects” and fills in the real phrase. This is an amazing time saver and one of the reasons we are so efficient and quick with our captioning! Just check out Kati’s list of most popular short forms.

The English language is rich and heavy with over 170,000 words in current use (according to the Oxford English dictionary), not counting the words made up by certain residents of the Jersey shore. Despite the great breadth of possible word combinations possible, people on TV, especially reality shows, tend to use the same expressions a lot. This is not so surprising when you think about it, and as caption editors, we like to save time by short-forming (creating an abbreviation that, when typed, compels the whole phrase to appear in the file) some of the most popular phrases.

A selection of short forms I currently possess:

YKWIM – You know what I mean?
YWKIS – You know what I’m saying?
YK – You know
WELB – Welcome back (great for game shows)
ATP – at this point
IDK – I don’t know.
TYG – There you go.
TYVM – Thank you very much.
WDW – What do you want to do?

We also have show-specific ones that include catchphrases, audio descriptors (ex: capple for [cheers and applause] is my most frequently used audio descriptor short form), titles, and names. Also helping to make captioning faster and more accurate are short-forming typos and common misspellings. I’ve typed “your’e” more times than I can count when I’m going at lightning speed, and my short form automatically corrects it. Even those chevrons you see in roll-up captioning have been short-formed since hitting two periods in a row is easier and faster than hitting those chevrons while holding down a shift key.

The one drawback of short forms is that, when I’m typing in other situations, like Gchat or in Final Draft, I often type “yk” and am frustrated when “you know” doesn’t show up. If only the short form were more widely available in all life’s practices. YKWIM?

Captions or Subtitles…How do you choose?

Posted by Emma on July 28, 2010 at 8:55 am. Captioning, Subtitling, Techy

Thinking of adding accessibility to your YouTube video, broadcast program, DVD, etc? There are two main choices: captions or subtitles. But how do you know which one to use?  Keep this list handy so you can get what you need.

Is this program for television, the web, or DVD?
Broadcast television, choose captions.

- Captions are sent with the broadcast program master tape.

Web, it depends.
- Subtitles are the most reliable in software players because they are time-cued graphic overlays.
- Captions that are formatted for the web work well in YouTube and other common players. However, they can have reliability issues.

DVD, it depends.
- Captions are best for “autoplay” DVDs (DVDs without menus). However, some DVD players do not support them.
- Subtitles are much more reliable and stable but they require a button or menu system. So, if your DVD already has a chapter menu why not add a subtitle button?

Do you want control using the TV menu or the DVD menu?
Using the TV Menu, choose captions.
- Captions are turned on and off using the setup menu in the TV.

Using the DVD player, choose subtitles.
- Subtitles are turned on and off via a menu on the DVD.
- This menu is programmed by the DVD author.

Are you creating a NTSC, PAL or Blu-ray DVD?
Captions

- NTSC only.

Subtitles
- Compatible with any type of DVD.

Is the support different for captions versus subtitles?
Captions

- Most computer DVD players do not support them.
- Here’s a list of software players known to support closed captions:
1. Paid version of WinDVD.
2. Paid versions of PowerDVD.
3. InterActual Player.
4. Window Media Player v.10+ (though timing errors are common).
5. Apple DVD Player (does not decode roll-up captions and does not position pop-on captions properly).

Subtitles
- All DVD players and many computer players support subtitles.

Do captions and subtitles look different?
Captions

- The font is determined by the decoder. It will generally be monospace white text on a black background.

Subtitles
- Anything is possible. The usual choice is a sans-serif font, either white or yellow with black edging or a black box.

We think that adding accessible features like captions and audio description is a great way to give your content a wider audience. Overall, we like subtitles because they are more versatile, more compatible and more widely supported. However, they also cost more money. Captions can be less reliable than subtitles but they also cost less. Hopefully these quick questions can help you make the right choice for your program.