Talk:Commons Media Collective: External Pricing and Internal Redistribution of Credits

[1]

Added por Stacco en octubre 21, PMat 3:55 p.m. I added this based on a comment by Susa (which seems to have dissappeared)

[2]

"Hearing" por Susa en octubre 20, PMat 10:52 p.m. This comment makes me think that I'm not sure what you mean by "hearing". I thought just watching it, as you would read a whole text to get an idea and translate according to the subject matter, the register, etc. But from that to actually transcribing it... And time-coding it for timing adjustment?

(2.1)

Re: "Hearing" por Stacco en octubre 21, PMat 3:56 p.m. By "hearing" I mean translating without a script, ie direct from the video. With modern subtitling programs you don't have to do much to generate a time code, it does so automatically through the interface

[3]

Film transcripts por Susa en octubre 20, PMat 10:33 p.m. Actually, not only should the client provide us with a transcript but this transcript should be time-coded.

(3.1)

Re: Film transcripts por Susa en octubre 20, PMat 11:11 p.m. Also, the transcript and the time-coding are two different things, because being able to insert your subtitle more or less in the same text boxes saves you precious time. And the issue with the client providing us with a time-coded transcript is so that we can wash our hands should there be any discrepancies.

(3.1.1)

Re: Re: Film transcripts por Stacco en octubre 21, PMat 3:58 p.m. I find that time coding based on the original simply doesn't work, it's much better if we code it ourselves from the beginning. We had a HORRIBLE time working with pre set time codes for a Rushkoff video we did and, as I've said, syncing the subs is pretty easy with a program like Amara if you've got the knack for that sort of thing.

[4]

Subtitle Training por Stacco en septiembre 23, PMat 12:29 p.m. So the optimal thing here is that both translator and editor are familiar with the subtitling software. This is something that we can do tutorials on so everyone gets up to speed. It’s actually very easy, but you need some “dry runs” before taking on paying, deadline gigs

(4.1)

Re: Subtitle Training por Lara en octubre 11, PMat 7:58 p.m. What subt software are we going to use exactly?

(4.1.1)

Re: Re: Subtitle Training por Stacco en octubre 12, AMat 4:38 a.m. Up until now Amara, but I'm curious about trying out Aegis. Maybe you could give us an online tutorial, Lara?

(4.1.1.1)

Re: Re: Re: Subtitle Training por Lara en octubre 13, PMat 3:15 p.m. If everyone agrees.. I'm in! (:

(4.1.1.1.1)

Re: Re: Re: Re: Subtitle Training por Susa en octubre 20, PMat 10:35 p.m. Great.

(4.1.1.2)

Re: Re: Re: Subtitle por Susa en octubre 20, PMat 11:04 p.m. Some subtitling software allows the client to change things afterwards, but some don't (and that can be a drag). I think that's important to know from the start.

(4.2)

Re: Subtitle Training por Susa en octubre 20, PMat 10:39 p.m. So here, in the Film section, it's not clear whether one receives only credits and/or € too :)

[5]

Editing Film Translation por Susa en octubre 20, PMat 10:47 p.m. By the little subtitling I've done I know that subs timing adjustment alone may take longer than a simple editing will (and by this I mean checking style and grammar/punctuation), since you could do the latter on a Word document. I'm not sure that 8 credits vs. 4 would be fair (perhaps 7 vs 5?), but we'll have to test it in the real world.

(5.1)

Re: Editing Film Translation por Stacco en octubre 21, PMat 4:02 p.m. I think that 4 is fair, the bulk of the subtitling and timing would be done by the translator, the editor would only have to make minor tweaks based on personal preference or if she has changed the length of the subtitled text or something, You can also check the grammar and correct the text in Word and then upload the document back to the subtitling software. It's something to learn but, once you've got it, you'll see that it's quite simple in practise.

[6]

Film/Script Translation Prices por Susa en octubre 20, PMat 11:02 p.m. My sister, in California, charged anywhere from $1,000 to $1,500 for a 30-minute video, maybe a couple of years ago. She says that, apart from regular text editing, you have to allow about a day's work for compressing and summarizing, since this also means adjusting subs. visually (to speech) and conceptually. We'll also have to agree to a punctuation code, such as with periods or commas, as in the US, or without, as in the BBC.

(6.1)

Re: Film/Script Translation Prices por Stacco en octubre 21, PMat 4:20 p.m. Yeah, by this I mean translating a film for overdubbing. (ie a script that goes to voice actors) there's no timing involved. Your sister got very well paid!! I've attached a price list from the studio I worked for from 2007 (before prices starting dropping) in the Trello card for this discussion: https://trello.com/c/4ClOA2Jw

[7]

“fixing a bad haircut” por Susa en octubre 20, PMat 11:15 p.m. Yes, we have to watch out here. The thesis that we just declined to edit was a great example of this: 100,000 words by someone whose spoken English is probably very good but leaves much to be desired in writing.

[8]

The "pre-production" odd bird por Susa en octubre 20, PMat 11:20 p.m. Knowing this odd bird exists, we could follow the assigned prices but with the proviso that all the parties (especially pre-production) agree at the end.

(8.1)

Re: The "pre-production" odd bird por Stacco en octubre 21, PMat 4:25 p.m. Yeah I think this is mainly the "pre-producer's" call. We want to incorporate "gifting" into the software. Ie, the ability of foregoing credits on tasks (or transferring credits you've earned to someone else). So, for example, if there's no preproduction to speak of, those credits can be voided.