Hello again.
Welcome to this last session of the day
where we have the honor and the great pleasure
of having Frederic Chaume here with us today.
He is, as you all know,
probably, full professor of audiovisual translation at
Universitat Jaume I
and honorary professor at University College London
Universidad Ricardo Palma, Universidad peruana de ciencias aplicadas.
He is the director
of the Trama Research Group and the trama book series.
He has published over 100 articles
book chapters and encyclopedic entries, I would say
over 200
on audiovisual translation and has supervised 20
thesis on the topic of audiovisual translation.
He's also in close
contact with the industry and serves as a consultant for Netflix.
He's the recipient of the Berlanga word in 2010.
The Xènia Martinez award in 2016
and the Jan Ivarsson award in 2020
for his constant and enthusiastic support to media localization,
as well as his constant university training in this field.
And for me,
I have almost no words to describe what Frede means to me.
I met him in 2009
he was the president of the board
and since then I truly admire him
as a person, especially, and as a scholar as well.
And I'm so happy to have him here today with us.
- Thank you. - Thanks.
It is nice and warm.
Yes. Okay.
Okay.
Those who are not into technologies don't know how to.
Anyway, so
thank you very much Noa for your warm presentation/ introduction
I feel really happy to be here again, once again, in this university
that for many of us is really a model of online university.
And to be with you as well
and with all the people that surrounds you, all your group and
and I wanted to specially mention Jose
and Pilar that have been with you for all these years.
And now with all the rest of the group have helped you to to prepare this
this conference.
I brought something that maybe is useful to you.
Maybe it is not.
So you will say, because you are the experts. I am not.
So once you see what they brought, maybe you can better decide
if it can work in foreign language
or second language classrooms or it doesn't.
So I would really love to
to hear from you, to have you
this is your feedback after that, so that
you can see, okay, this is really nice,
but it is not feasible in a classroom or maybe it is, right?
So my idea is to just show you, first of all, some data.
Second, I will go into
the materials that we are using now
in translation adaptation for dubbing projects.
So, as you know, platforms have changed radically the way we understood
translation adaptation for dubbing, when I started doing that,
we just got a clip and the script and that was all.
Nowadays we've got many other things, many other things called
reference materials.
Some companies call them reference materials.
And my idea is to show you how to use those reference materials
in second language classrooms or foreign language classrooms,
and also to use them to train new people into the dubbing industry.
So, in a way, to sort of killing two birds with the same stone,
that is the main idea.
And finally, I will show you
some materials that we
can use in our classes, including cloud dubbing.
I'm sorry, because we tried to open my my Netflix account
and something else, but we couldn't due to technical issues.
Let's see this, anyway.
But anyway, it's understandable as well that they sort of now take
I mean, put these barriers in order
not to access all these things from outside
the place that they think that we are accessing them, anyway.
So some data to start with.
These are really recent data about consumption of video in Spain.
I just wanted to focus this first light on Spain.
Anyway, we will have more data soon.
So for me, there are many, many, many data
that are really interesting, but
I really was interested in reading that
70% of people say that they would prefer
to learn about anything by watching a short video.
There was a big survey done in Spain by a 1 to 1 video.
Also statista, which is a well known source
of data in Spain.
So Statista says that 75.5%
of people interviewed, the surveyed, said that films
where the audiovisual content was consumed by Internet users
in Spain, followed by news programs and followed by TV series.
So that mean we know that
we sort of, maybe we didn't know that, but we are convinced about that.
But the problem is to convince our colleagues in other departments
that this is the real life.
This is real life, Right?
So anyway, so 70% of people
would say they prefer to learn about anything, whatever,
I mean, the typical tutorials we know, but also, it is also included
foreign languages or a second language, right.
It was also nice to see that only video consumption
is increasing across all age groups, with the largest increases
seen in people aged 46+, which in this room means just myself,
I know, but in any case, in any case
it is nice to see that it is not just a question of the
Gen Z or the Millennials and so on and so forth.
It's not something that affects all ages
right now and this is a statistical source.
Okay.
So that was one of the things that, more data there that you can read
but I won't stop in every detail.
The other thing that many of you already know
is the amount of audiovisual translation done just by
or carried out, just by one platform in this case, Netflix and a the data
in 2021 were that Netflix subtitled 7 million minutes
and dubbed 5 million run-time minutes.
And that was just 2021 and that was just one platform.
So on the one hand side,
we've got video consumption in general, whatever the video is
and whatever purposes have those videos.
And on the other hand, we've got the all
or many of these videos are constantly dubbed and subtitled.
So that intersection is meaningful for the people that
gather here today.
More data. Yeah, well, we all know
the impact of a series like squid game for example, among others,
dubbing has played a key role in drawing more viewers on Netflix.
More people chose to watch with they dubbed over the version
voiced with subtitles, with or without subtitles.
So that means something as well.
I'm not, as you can imagine, in favor of one thing or the other thing.
This is not the rationale of this thought.
Many years ago, all of us
consented to the idea that we are in favor of dubbing and subtitling
and accessibility and video game localization and everything.
So it is not just confronting one versus the other, it is
what is behind that, and that is the increasing
use of dubbing all over the world.
Right.
So this is what Los Angeles Times said
Dubbing helps make more shows and films accessible to viewers
who do not like to, or simply can't read subtitles.
There was something there that was really interesting.
I stopped for a while and reflected on that.
And it is this sentence that says that,
according to the streaming of - this is Sofia Sánchez Mompeán, right?
One of these articles about English dubbing.
According to the streaming service, the audio makes audiences more likely
to watch an international film series until the end
than when viewed with subtitles.
That is also descriptive.
I'm not in favor of one thing or the other.
I'm saying I want to keep saying that, it is just
something that happens, something that happens.
And then there are like
three examples here The Rain, Dark and La Casa de Papel.
And then they say data also show that a high percentage
of the users who opted for the subtitle equivalents
dropped the shows before the end of the season.
So this is something as well.
This is something that simply we have to take into account.
And then some data about the catalog, the Netflix catalog in Spanish.
And I found the Catalan as well.
So I included there.
So this was the English content on Netflix.
55% of the catalog were English speaking
productions, productions in English, which about the country of origin.
But they announced
that in short, and that it was a couple of years ago
the Foreign Productions catalog would be
bigger than the English productions in Netflix.
I don't have the numbers, i don't know if Jorge has the numbers right now,
but presumably I would say that now it's more 50/50
and that ensured other productions,
other languages from English will be
will sort of gain the battle
against the English productions in Netflix.
And that opens up again, a new scenario for us, right?
For language teachers and also for translators.
Okay. Having said that, these things or most of the things you already know,
because this is the literature that they use in didactic
audiovisual translation, but particularly in the field of dubbing
I wanted to highlight the first studies by Burston,
then Martin Danan, Martin Danan that has been mentioned today
a couple of times, and also
because he was involved in that, the thesis by Gloria Torralba
who's over here as well with us and what she did in her thesis was
and that was interesting for the rest of my talk
and that triggered some ideas for these talk as well,
what she did was to confront dubbing and subtitling to obtain, to know,
to get to know which one obtained better results with
it was pre-service teachers right? Pre-service teachers.
So in the case of dubbing, what she did
is that she only used the first stage of dubbing for for practical reasons
and in the roundtable before, in the papers before
among the drawbacks that you mention, Alberto,
Pilar and the rest of the speakers,
you mentioned that it is really difficult to implement
all the technology, all the norms of dubbing.
I mean, to teach all these things within
a classroom about foreign language or second language acquisition.
So it's like two classes on one or I mean, we don't have time.
So because of that, she decided to just
put into practice only the first stages of dubbing.
And what she found was that the results were better
or worse, while using dubbing or using subtitling, but
one of the final hypothesis of of the thesis rules
that maybe, I need this in Spanish, maybe
maybe with a bigger or better
or more complete approach to real
professional practice, maybe results would have been different.
And so, this triggered an idea for for for this talk as well.
And that is why I decided to bring all these real materials,
all these real, this tasks that we have to carry out in
real projects or commissions of translation adaptation for dubbing.
And in order to, sort of
even motivate more or better or engage more or better
our students or pre-service teachers or whoever.
Okey.
Yeah, well, you know, Ana is here with us as well
you know, the app is designed
in the field of didactic AVT, also the one designed
by Zhang 'English Fun Dubbing' videos for speaking, as you see there,
but I'm not sure that, do you... does any of you know this?
No, no, I think it's quite recent.
But I was really interested when I saw
that is like a map, in order to learn languages
but would they sort of, I mean the hook that they have
for people using Bussu, is that:
'Top 10 Spanish series and Netflix to watch in 2023'
That was for learners of Spanish.
So, the idea. I mean, I had to decide when I signed in
I had to, because they knew that
there was something with Netflix and they said, well, so I signed in
and the application asked me which language I wanted to learn.
So I said Spanish.
Anyway.
So because they make questions, they make questions.
So I chose Spanish
and then what they have there is the Top 10 Spanish
series Netflix to watch in 2023, with sort of tips
or practical tips in order to, how to watch them
and how to learn Spanish from there.
So well. February 2023.
So it's quite recent.
You all know the literature, of course,
Talaván, Talaván and Costal, Talaván and Ávila Cabrera,
Talaván, Lertola, Lertola... Incalcaterra.
Agnieszka made fun of that before, but it is true.
It is what we have.
It is what we have and these things have been really pioneering.
This have been really pioneering thing
that together with Famelan and together with many other
Alberto and many other people, I don't want to leave anybody out.
So, the projects that have also been mentioned LeViS,
I didn't know how to to say that, ClipFair
and then PluriTAV that will be further explained
by my colleague Ana Marzá tomorrow.
We also have a creative dubbing rubric and I'm not sure whether
Jose Ávila is here right now.
Maybe he's busy, but I was really happy to read this
creative dubbing rubric in the sense that now
we have a tool to assess a creative dubbing as well
in the foreign language classroom.
And it is based on Talaván 2019,
but it is slightly increased or it is tweaked somehow, right?
So we've got pronunciation and intonation,
Grammar and Vocabulary, Fluency, Synchrony and Creativity.
And if they were on the floor instead of being here,
I would raise my hand and say, What do you mean my creativity?
Because I'm really intrigued about how creativity
can be assessed and the meaning of that.
But anyway, I will do that when I be there.
So we've got all these things which are really useful
and now we've got even more things.
I don't know how many of you know about language reactor in Netflix
do you know about language Reactor?
One, two. Really? Only two.
Okay, okay. Okay.
Language reactor, I will show because this is one of the things
we couldn't access when we tried before you came into the room.
But luckily I did some screenshots.
So language reactor is a
toolkit that we all have in our Netflix account.
So we all have it.
We just, well, not the ones who haven't a Netflix account,
but the ones who have a Netflix account
can have access to the language reactor
and the language reactor is a toolbox to learn languages.
I think I've got... yeah, this is their definition.
Language reactor is a powerful toolbox for learning languages.
It helps you discover, understand and learn from the source language materials.
Studying will be more effective, interesting, and enjoyable
with Language reactor.
That's of course, Netflix.
What they say, it's not make myself. What does language reactor do?
Language reactor is a learning tool embedded in your Netflix
allowing you to watch foreign movies and YouTube videos
in some original and dubbed languages with two subtitles.
And I'm not going to dig deeper because I know that horror will be
digging deeper
in subtitling, in the use of subtitles with language reactor tomorrow.
So I hope to be complimentary to what he says.
But in any case, some original
languages so you can choose in your Netflix guide.
You can do it, right?
You can choose the audio and the subs, right?
But in language reactor, we have the possibility
to watch the film or the series with two subtitles,
one in the original language and another one in another language.
So we can choose the languages we want to watch the film with
on the one hand; but on the other hand it has many possibilities.
Like, for example, we can click because the dialogs appear.
Let me show you again the
Yeah, well, it is not here.
It is... yeah, well, that's the menu.
So it has the Netflix catalog and also the YouTube catalog, right?
So you have access to many, many, many, many clips.
Lots of clips.
And when you watch a clip and that was what I was trying to show you,
but I think I can't because we'll just see.
What's the... I have chosen
somebody feel
well a docu series about gastronomy on it.
So...
so, we can do, I mean
everything appears on the right hand side of your screen
and if you click on the words of the dialogs,
then you've got, you can have their
the translation into many languages.
So in my example, they had Catalan because they said, okay,
let's see if you can do Catalan, and yeah, they can. They can.
So it's correct.
Everything is okay there.
So I looked for 'beet' and yes it was 'remolacha' like in Spanish
anyway, but written differently, in a different way.
you can click and see the translation.
Words are selected according
to their frequency in the episode.
So, another interesting thing that you can have
is that you can sort of select and I think, I think they have
Yes, I have this screenshot here, let me show you.
Yeah. Here, for example. Right?
So you can on the one hand establish I'm sorry, it's in Spanish,
it's easy to and I can translate,
you can set the level of vocabulary that you want to learn.
So for beginners,
for intermediate students, for upper intermediate or advanced
or masters students anyway, you can select the amount of words
that you want to focus on, depending on the level of your students.
Of course, if you double click in one of these words
and you've got translation and also you have a kind of linguist
thing that is called, I can'y remember now if it is 'tollbooth'
'toll' something I can't remember the name,
but it's like linguee, you know, linguee.
So you find the word into context.
So it helps a lots as well.
So translation, the subtitle where it appears
so you can also spot in which subtitles
the word is appearing and the context, the real context of the episode
and also the translation into many, many, many languages.
Right? So it's really helpful.
For me, it was even more intriguing the way they understand
that language reactor can be used.
And let me focus on that. Oh.
Yeah, well, these you know, they can mix and match up some does, yeah.
For example, for example, they establish four levels
and they see if you are a beginner, watch the show with, well,
this is a Spanish speaker trying to learn English.
Right. That's the context.
So for a Spanish speaker
trying to or willing to learn English, if you are a beginner,
then watch this show with Spanish dialogue, Spanish audio
either dubbed or original, because you can have both
possibilities and use English subtitles.
If you are an intermediate student, then watch the show
with English dialogue and Spanish subtitles.
If you are an expert, upper, intermediate or whatever the name is,
you can watch with English audio and English subtitles
and if you are a master advanced student,
you can watch it with only the English audio and no subtitles.
And that's interesting, right? Because that's the way they understand,
like a visual translation and the play
with languages and the level of language acquisition.
So that's interesting.
And that would be interesting as well to hear from you.
I mean, if you agree or if you don't agree. I frankly...
I think it makes, it may make sense, but you are the experts in this room.
So this is something interesting.
But let's go further.
Let me see where it is.
Yeah, well,
the only drawback of language reactor is that it might be more suited
for intermediate, intermediate or advanced learners.
Yeah, that's true. That's true, That's true.
But still, I think for beginners it can be useful as well.
So all the practicalities that you can find there, what else?
There was them. Yeah.
And even tasks, they even have tasks.
So as a beginner student they see what you're seeing in Spanish.
Now watch the same scene, but choose English dubs with Spanish subtitles.
Now listen to the audio a couple of times
without looking the text and so on and so forth.
So for intermediate students, another set of instructions
for advanced levels, another set of instructions, right? A guidance.
So it's really interesting. It's really interesting,
but they are really working hard, trying to work hard on this.
But now I think that what they need is the, you know,
sort of consultancy of experts
in order to know if this is true or if it is not.
Anyway, they say, for example, if there's something tricky
or there's some new structure you don't really understand,
don't get stuck on it for long.
Keep moving. Okay.
It's very, very Netflix, right?
Very much.
You can also use a feature in the extension
that greys-out infrequent words and that's specially for teachers, right?
Say I don't want them to focus the attention on a word that they will
they will never or they will scarcely use along their lives.
Right? For example.
And they see something interesting as well.
Spend an hour.
So yeah, it's interesting, right,
the way they sort of understand
the conceive language acquisition using
a film or TV series. Right? Okay.
So linking to what I was saying before,
we have the opportunity now to use real materials,
not just the translation, because as I was mentioning before,
before we just had the script and the clip and that was it.
But nowadays things have changed a lot as well.
And now we have like several materials,
real materials that we also have to submit to our client.
We, meaning translators, and in this case, translators
and adapters have to submit to our client together
with the translation file, the dubbing script. Right.
So, can we use them in language classes?
You will answer the question because you are the experts,
but I will try to sort of
clarify what they think about those things.
So which materials and which tasks?
And of course, it was mentioned before in several papers,
always taking into account that any lesson plans
should be based on the combination on the one hand the DAVT mode
the didactic audiovisual mode, in our case, in this case right now
dubbing with a particular linguistic combination, is it interlingual?
Is it intralingual? Well, right.
It is L1 L2,
it is L2, reverse translation, reverse dubbing, and so on and so forth.
And a particular language and cultural challenge
Are we focusing on vocabulary, grammar, intonation, pronunciation,
or are we focusing on acquisition of cultural references, humor
intertexts, whatever, and according to different levels as well.
So, all these things always sort of
make the context of any learning proposal.
So these are the reference materials,
these are the things that now accompany any dubbing
commission, not inflation of the position, dubbing commission
together with the dialogue lists as in the past, together
with the scripts,
we now have other materials like the so called creative guidelines
or show guides where we can find information about the show
and also information about sort of translation tips.
Sometimes, although they are mostly intended
for dubbing directors and voice talents, but still they include
they can include some tips for translators and adapters.
Okay, but these are just tips and they accompany the commission.
I am more interested in what they call
consistency sheets and also the metadata file.
And I'll try to show you, I mean, first what they are.
Second, if they are usable in our classes.
So consistency sheets and then metadata.
Consistency sheets, we have many kinds of consistency sheets.
And so before glossary is forms of address
consistency sheets, KNPs or Key Names and Phrases, another
sort of glossary, relationship, relationship charts and audio files.
And I will go one by one and you will, later on,
let me know if they are useful of the or they are not.
This is are typical glossary and I don't have to explain
what a glossary is
to this audience. In any case that was from
from this docu series 'Somebody feed Phil'
and, by the way, are subjunctive, right?
rare and subjunctive in English 'Somebody feed Phil'.
Okay, so this is something we translators and adapters have also
to compile and submit to the client, right?
With all the terminology, the terminology that includes
the episode under these conditions
consistency reasons because we belong to a team.
So maybe I do episode number one and you do episode number two
and she does episode number three and that everything has to be consistent.
Otherwise the product will be like sort of a bit crazy, right?
I mean, but rule was translated differently in the first episode compared
to the second and so on and so forth.
So we've got what they call source,
and that's this new terminology that is also coming into scene
and dubbing and subtitiling as well, like for us narratives
to say subtitles.
So source means the English start, the English, the source language,
a term. So, source and then we list
all those items that could be
potentially used in other episodes so that the other translators
belonging to the team keep consistency, right?
So we add an explanation,
then we offer our target translation in a language combination.
And there is another column for our comments, right?
And then you can also, sometimes you can also say if it is a word of
it is a set phrase, a medium and so on and so forth. Right?
So as you can read there, and that is Netflix online,
the style guide they see, consistency glossary consists
consistency sheets must be created and used for translation
across episodes and seasons.
They should be provided to Netflix upon delivery of that script.
So this is something real. This is something we have to do.
And my idea here, what is it useful for
foreign language, second language acquisition as well?
Because they think that it is this is this could be really motivating
and engaging for people wanting to, willing to
learn a foreign language if they cannot sort of kill two birds
with the same stone and then, okay, they can work on glossaries
so they can acquire vocabulary, they maybe have to provide definition,
they have to provide translation
and also maybe some comments or whatever.
And then, at the same time that they are doing this, this is real
material and this is something that they should
they could do
if they were doing translation or if they stand for dubbing.
Same applies to other types of material.
Oh yes, this is my snapshot.
Yeah, that was the example.
I know that it's it's not readable from the back of the class,
but anyway, it's beet and then the translation into Catalan
and then the words are ranked there
according to the frequency in the episode.
So the first, this is word number 8000, right?
But if you go to the beginning of just scroll
the mouse up to the beginning, then you will find that the most
used word in this episode will 'be', the verb to be, right?
So 'be' was the first, 'I' was the second,
which is a bit... I don't know, 'I' come on... anyways.
But that is so we can play with that as well
and we can play with the levels as well, ok
we just sort of discard or just get rid of the
I mean, the most difficult ones because we are dealing with beginners
and so on and so forth.
This is a typical KNP file
Same shows, 'Somebody feed Phil'.
So in this case we have our culture
references, toponyms and throponyms.
So all these things can also be listed here.
So for example, WC Fields.
Okay, so an explanation.
William Claude Dunkerfield, whatever, American comedian
born in... whatever, Philadelphia, some so on and so forth.
Right? so that is a proper name.
Students can decide whether to keep it or to translate it.
And then there
are usually the comments column where they can include anything.
Right.
So Philadelphia, for example, would be interesting in Spanish
because we don't write Philadelphia such
we write this, you all know here Philadelphia in a different way.
So that could be interesting to, just for awareness.
I mean, this is for beginners, of course.
I mean, this is this is different
in the two languages, Spanish or Catalan and in English.
The Franklin Institute, the City of Brotherly Love, so poetic.
Yeah, well, so that one should should be translated.
We can't keep that in a dubbing of the City of Brotherly Love.
We need something there. Right.
Then an explanation, the target and so on and so forth.
So that is something that is done in professional circles and that,
in my view, has a potential in language acquisition as well.
Another thing that has a
potential as well, the so-called relationship charts.
So for... I was going to say
but Jorge knows the joke, the jokes are for Turkish productions.
Because, say I don't want to repeat my jokes, by the way.
But it is true for Turkish productions
that are so long, so, so long, so long, so long.
The dubbing teams need to keep track of who is who.
They need to know who is who.
Because after after Season seven episode 475,
then someone appears over there.
Okay, this will show, whoever, no! It was translated
in a different way, maybe in season number two episode number...
So all these things have to be taken
into account in the dubbing production, right?
And this is why the dubbing teams need relationship charts.
Relationship charts that can help the foreign language student
or the second language student, can help pronounce or get acquainted
with foreign names on the one hand, and also pronunciation as well.
So for example, in this series
that many of you know, so it can be done like this.
So the main character and then
her brother or... this is a spoiler, maybe her brother,
and then all the people in the hospital. Right?
So it can enhance pronunciation, intonation as well.
And also getting acquainted with foreign names. Right?
These relationship charts
can be accompanied by the called 'pronunciation guides'.
So, in the case of Ratchet to do
to keep with with the same show,
what would they have to do in
professional circles is to record
an audio file with the correct name of that character.
Now, for example, in La Casa de Papel when dubbed into English,
someone has to record all the names, they're there in the show,
but sometimes they don't have access to the where they say that
name in episode number two, or because maybe in episode number three,
the character is there.
Nobody says that name, so it's difficult to find.
So the easiest thing
is to just go to the whatever, to the cloud, Google Drive, whatever,
and then you find all these names with the audio files attached.
And so this can be used for pronunciation
as well or yeah, especially pronunciation, right.
And it's fun.
It's fun to just record all these names and then say, okay,
I'm learning a language, whatever, but also I'm doing something professional.
I'm doing something that is required in professional circles.
Too many things, typical problems in Spanish,
like the pronunciation of Gloucester, for example, that maybe by analogy,
many beginners do in the wrong way,
or differences like reading the gerund
and reading the toponym and many other things.
So all these things are
reading, by the way it appears.
So it's something that should have
to be recorded saying: reading and not reading.
So for a beginner intermediate student that could be like, Oh,
okay, something else.
Another type of consistency sheet, the forms of address,
consistency sheet, and that is in Spanish, as well.
And as you know, in some languages we have two different
forms of address to refer to you.
In other languages, they don't.
But in the cases that we have those forms of address, let's imagine
someone in Ireland studying Spanish and learning Spanish.
So they would need to know the difference between tú and lei
or tú and usted or tú and voste or whatever.
So this is also something interesting done in a dubbing commission
and useful for language acquisition.
And then finally the metadata files.
Although they are mainly intended for administrative and technical departments,
sometimes they must be translated by translators and adapters.
So this is some definition by Amazon Prime, Title metadata includes
information like title, genre rating, synopsis and so on and so forth.
So this is a typical well, if it wasn't, I couldn't reproduce it
for NDA reasons, but instead of showing the real thing,
what I did was to list all the things that they included there.
So now I can't reproduce it, but.
I guess. Anyway, so interesting things
about the metadata file, in a dubbing permission
someone, translator, the adapter or maybe other people as well
have to produce three different summary synopses of each film episode
or a TV episode or a film, each film
or each documentary episode, and so on and so forth,
can you imagine why they want three different summaries of the same thing?
To torture translators
what's the point of asking three different synopsis?
maybe... what?
Did you say anything? This.
Because of the size of the screen. Exactly.
I mean they are intended for different platforms devices.
So if you're using your mobile, then you need a short
synopsis of maybe two lines.
If you're using your tablet, maybe you need the the one with four lines.
But you see the big screen, then maybe you want more information
and then you've got the six line synopsis, let's say.
So that is really interesting as well because students would have to watch
the episode and then do
three different synopses, right of the same thing.
So it's sort of kills two birds with the same same stone, as well.
They have to produce translators out of that.
There's five key words for Google. Yeah, yeah.
For searchers. Right?
So you want to search an episode of either
of I don't know, get smart,
which is really something from the sixties I think or the seventies.
But then if you knew what the episode was about that
you look for the keyword and then you get the episode.
So that is something that can be really useful as well.
Place keywords, right?
The official title, the translation.
Okay, Okay.
So possibilities are that note and this is something that
you have to assess,
but there are many possibilities to exploit all these files.
Admittedly, the file which an episode, a short film, right five key words
and translate them
while the short, medium and long synopsis of the of the episode.
And of course according to, as I said before, levels, linguistic combination
and so on and so forth. All proposals so far
I think that from what I've been able to read, all proposals
so far, they include the tasks and exercises in didactic dubbing
or audiovisual translation in general, include like four stages, a warm up
a phase or stage of the activity,
the video viewing, the task and the post task
the questionnaire or whatever.
And yes, translation guidelines and protocols
are not strict as they are in audiovisual translation.
So this is something that in a language classroom we can sort of
skip, not skip, but I mean, make them alert.
But it is not the point.
It is not the final point. Right?
But still, it is good that we play with that because for me, for me,
that could be a reason of motivation or engagement or involvement.
As you mention this morning in all your papers.
Yeah. So wrapping up, we can acquire terms of address, acquisition of cultural
references, acquisition of specific terminology, acquisition of proper
names, toponyms and throponyms and pronunciation, oral skills.
I don't know if you can read that.
Okay, so class materials. wWe have, of course we need clips.
We can use real templates and going in direction
that Gloria mentioned in her thesis,
as close as we get to real practice,
maybe the motivation goes higher. And software
and I just wanted to show you just two or three of them
and then finish with close dubbing and that's it.
So we can use if we want, maybe we don't, but if we want,
we can use the traditional word file layout used in Spain
and in other countries like Italy, like Germany, like
the Czech Republic or like Turkey and so on and so forth.
So that's a word file and many of you know how it goes.
So lines are sort of gathered into what we call loops
or takes with a timecode and numbers
and notations or tacks and so on and so forth.
We can use the new are the new layouts that we've got.
And this is something that is online
so you can you can Google it.
So this is an Excel file by Netflix.
We have Spanish dialogue translated into English, just some sentences
and then I know that it's not readable.
You cannot read, but I will help you.
The first column says TimeCode in,
the second column says TimeCode out, the third columns
says source.
So the character in the screen or the caption or whatever.
The fourth says dialogue.
So it is, in this case, Spanish dialogues.
The fifth says translation and that is the translation
into English and then the column for annotations of comments and so on.
And then they want us grayed out are for QC purposes for the quality controllers.
Right? So, but anyway, this is another possibility
and it can be like, I mean using an Excel file or just
used like this in a word file, inserting a table with just
the important columns, number of loop, timecode in, characters speaking
English source dialogues, and in this case, this a real example,
German translation, a German translation.
So yeah, okay, we can use dubbing tags
and that may make it funnier, but
I know we don't have timing classes, but anyway, maybe one day.
But still, it makes sense if we want to make them aware of
what is possible and what is not possible in a translation.
So these are the ones used in English speaking countries.
So the States or the United Kingdom. Right?
So mouth not seen for what we have in Spain, like a sorry sin boca SB
or react for what we call G, gestos or the Italians call verso
or what the Germans call loute and so on and so forth.
Overlapping, for that, for overlapping.
So WALLA for what we call ambient,
we can use the Spanish
if we think they are interesting, especially the one symbol because the,
the one is most used along this country.
And then we can do also exercises on lip syncing.
And this is something that you have tried in some
experiments, right?
So this is, either need to just read that
because all of you know what lip syncing is, right?
The three types of synchronies.
And for example, we could propose an exercise like this.
Watch a clip, an episode of a favorite serious film
find gestures of hands or faces or bodies
that have a meaning in your working language and culture.
Write them down in both languages.
So that could be
in order to focus on kinesic synchrony on the one hand type.
Also in order to learn how culture is expressed
via paralinguistic gestures, kinesics, in this case.
This is an example.
If I've used for years and I just wanted to show you. Sorry.
Hmm. I don't know if I can play it because it doesn't work, right?
Can you... is there the technician over there?
Can you please? Hello. Is there?
Yes, yes. Is there.
Can you please play the video
Puedes darle al video, que se pueda ver el video?
This is Jack Rabbit, Slim
an Elvis Man should love it.
Come on, man, let's go get a steak.
You can get a steak here, Daddy-O.
Don't be a...
After you, Kitty cat.
Dont be a what?
I've done these with Chinese students, for them
this is absolutely meaningless.
Don't be a... Be a what?
Spanish and English.
In this case, maybe the solution is rather easy,
although maybe there are some nuances, right?
That do not coincide exactly
because I would say that in English that has the nuance of old fashioned
whereas in Spanish, not necessarily
old fashioned, it can be 'cuadriculado', we would say so.
And we keep the the... but maybe other cultures see a triangle either. No.
So it is quite meaningless.
So this is something that can be also used
in both senses, for translation adapters and also for
language learners.
So phonetic synchrony. You know about phonetic synchrony.
I'm not going into that so exercises in with lip synching.
You have proposed some in the literature before,
but we can do from transcribing the dialogues according to the level,
according to the language combination, transcribe
the dialogues or translate the dialogues or sing them;
Or as I know that some colleagues have done before, like Gloria or Irene
in my group, I just mute the clip and create
and invent the dialogues right according to the
context, to the situation and then try to sing them.
So it's so many possibilities, right.
And we can provide the learners with, for example,
if we are focusing on our phonetic sync with this chart,
in order for them to see that
any labial can be substituted for any labial, right?
Instead of just M for M, am m for an m, and so on and so forth.
So this is this is something we can use as well.
And then in a synchrony same thing. This is another another clip
I'm not showing this one because I'm running out of time.
But in any case, there's a character saying
'One minute they are having a Denver omelette
next minute someone is sticking a gun in their face' and there is kinesic synchrony
when this this man sees a gun, because he's doing like this.
So this is interesting because whatever word we pick has to do with
that kinesic sign.
So we've got our cultural reference, Denver omelette.
So they learn about culture as well.
Thanks to Google Images, fine.
If you just go to Google Images and it's over there
and then, well, translation and so on and so forth.
We can focus on inclusive language, as well.
And then, for example, you know, the series Brooklyn Nine-Nine
or other series that are in many catalogs as well.
And we can sort of try to, you know, raise awareness
to our students and say, look, things are changing now.
We are living a different paradigm and we have to be aware of
not being, let's say, offensive to any collective.
So be aware of that and practice
the possible solutions that the language offers us
like, for example, the use of neutral terms.
So they learn about neutral terms, the use of plurals,
the use of 'they' instead of he or she.
I mean, things that you already know.
I'm finishing
And then, I'm finishing really, because this is...
Okay, let's watch that.
That's what I call teamwork.
Yeah.
Are you too excited about your trip?
I can't wait.
There's going to be so much to see and do.
And eat!
Paris has some of the most wonderful bread and cheese in the whole world.
Plus really amazing museums.
Yeah, but did I mention that cheese?
It's the only thing you've been talking about for weeks.
Okay, they could. They could.
So this is my last slide.
Anyway, so that was what they call the Bande rythmo.
And this is how dubbing was done, has been, is still done
in France and Canada and the Quebec area.
And this technology
has been imported to new cloud platforms.
So now new cloud platforms
that are the present or maybe the near future of
so this thing will substitute the Excel files
or the word files that I showed you before, right?
So in a cloud platform and that is a cloud platform,
it is similar to a typical subtitling software, right?
Where we can upload the video, the clip.
Then in the middle we have the English, or the source language, let's say.
And then on the right hand side, we've got the boxes
to type our translation.
We type of translation,
and then this the font size of the translation
for the line we are we are writing
gets smaller and smaller and smaller
until it fits the same font size of the original.
And then we knew that isochrony perfect
when two font sizes are the same.
So technologies are really substituting.
I mean, we feel now we needed to teach isochrony
and say, no, this is longer, this is shorter.
Now you just type it.
And then when the two fonts sizes are same,
the same size, then you know that it will fit, right?
So this is and then, that sentence runs from
right hand side to your left hand side.
And when it crosses the red, the vertical red line,
then the actors, the talents start performing.
And this is the bande rythmo
or what you saw before with the three little piglets.
Right? So the three piglets are speaking and then the translation
at the bottom of the screen and then like subtitles,
they sort of scroll or they run from one side to the other side
and they cross the vertical line
The talents start voicing those things.
I guess you can see those little green boxes.
These are the glossaries, these are the consistency sheets.
So you just go there and click and hit there and then it opens up
a glossary and then you can check what other teams
have done in other languages.
And that can be really interesting and useful for us translators
because you say, okay, let's see what the Italians did, when we read it
so they can do English or they translated or they familiarized that they chose
something in a frittata, for example, or instead of omelet or whatever.
So they, so it sort of gives a clue. Right.
And we can do the same or not or whatever.
But at least it is really interesting.
And also for all the team involved in the in the dubbing.
So these things offer lots of possibilities.
But they are here for you.
I mean, Zoo is offering these for free to all universities.
So in your universities you can sign a contract with them.
They don't ask for anything.
I mean, of course they ask for something.
I mean, they are sort of sort of selling,
but not selling in a way, making it popular,
making it known by future, by prospective translators.
And that is what it get.
That's what they get.
But in any case, you can sign all your universities,
an agreement with them, and you can use this platform
for your classes, translation classes or language classes as well.
And I think I'm out of time, right?
So even better for me because there will be no questions.
Well, maybe a question or two.
Well, I have a lot of more than questions, ideas that I need time to process
and maybe try and put into practice.
But we can discuss them any other time, any questions in the room?
Is the mic around?
Yeah? No?
Questions while we look for the mic?
Or you really need to go on the tour.
Too tired?
Yeah too tired.
- Well. - Yeah. Okay.
And we need the mic just wait.
Well, she asked me
because I think you can hear, not?
Okay.
She was asking whether we have copyright
issues with the clips and of course we can't have copyright issues,
but at the same time, we've got lots and lots and lots of free
clips on the web so we can play with them as well.
Not necessarily Netflix films, right?
They can be any clip.
Any clip can be good for that.
And well, I know, I'm reminding of...
It's a sitcom. Yeah.
A sitcom in animation that is totally free.
So that could be a possibility.
So there are many, many options that you can you can use.
Of course, if you want to publish or if you want to... Then that's different.
But in a classroom, you know also that we have this sort of
something between inverted commas, academic use of classes.
Frankly, I think nobody cares because we're making just an academic use of the clips.
So in my case, I've been using these for years
and touchwood, I never
I never had any problem.
Thank you.
Yeah.
Copyright issues are always something like that worries us.
But yeah, there is this regulation for academic
purposes and language
learning purposes that's always there and that we,
we have it for TRADILEX and it's all around our videos, so...
Exactly. Yeah. We play with that.
We are safe there.
If at least in Spain I neither know.
Yeah yeah yeah yeah it's zero.
So it's a European Union. Yeah.
Then in Spain we have specific guidelines departing
from that General one. But yeah. Yeah.
Anybody else?
Okay.
Well, I think it's late
and you'll have him around tomorrow for questions for coffee or for lunch.
So thank you again.
It was wonderful plenary.
I mean I really, I really enjoyed it myself
and I saw the faces of everybody enjoying it.