Speaker ID:

Include a speaker ID if it is unclear who is speaking in the shot. If you see the character speaking to the camera, there is no need for an identifier, even if for the first half of the subtitle, they are not in the scene or you cannot see their face. As long as they appear on camera, say after a shot change during the length of the sub then no need to identify them. If they appear on screen but it is not clear it is that person speaking – their face is obscured or they have their back to camera, use an identifier.

If the speaker is identified in another way, no need for an identifier either (eg. if they directly address each other by name). 

• For Netflix this should appear enclosed in brackets as follows: [Greg]

• For dual-speakers, title it as follows:

-[Greg] Hi, how are you?

-[Charlie] Fine, thank you.

Similarly, if only one character needs identifying:

-Hi, how are you?

-[Charlie] Fine, thank you.

For single lines try and keep the speaker ID on the same line: 

[Greg] Hi, how are you. 

• Use first names (if you have them) and capitalize the first letter. 

• Use last names for real people (usually in documentaries).

• For characters yet to be identified in the show, use [man], [woman] for example. If you are aware of their profession we can use [reporter], [officer] etc. If there are more than one in a sequence of subs or in a certain scene, make sure you differentiate: [man 1], [man 2], [reporter 1], [reporter 2] and so on. Once we have established their names, (if they are main characters) you can start using that but sometimes, they will never be identified.

• You can use [narrator] for main voice-over in a documentary (occasionally in movies and dramas too).

Qualifiers:

Sometimes you may need to emphasize the tone of the person speaking or the language:

[whispering] Hi, how are you.

[voice breaking] Hi, how are you.

[in French] Hi, how are you.

If someone is speaking another language, title that as above but then make sure you title [in English] for the next sub if we revert back to the English dialogue.

You can also qualify with things like:

[in French accent]

[Greg in robotic voice]

[in high-pitched voice]

[in slurred voice]

And so on.

For foreign language, make sure you identify the language, do not use [speaking foreign language]. If you are not sure, ask us and we will do our best to identify.

For Netflix, use sound effects in brackets rather than written out (like “ha-ha” or “aah!”)

[laughs] My, God, it’s 5.30!

Please, no, no! [screams]

Your car is on fire. [laughing] 

This obviously helps with reading speed and formatting to be able to include descriptors with the dialogue rather than separate to it.

Adding language:

For words not usually subtitled, these need to be added into the dialogue:

Common examples are:

Oh

Ah

Hmm

Shh

Wow

Uh-huh

Mm-hm

Whoa

And so on. Often these will be interspersed within a sentence but sometimes they can be stand alone.

Try and use trail offs for uh… when it’s used as part of a sentence. I wouldn’t title uh and um every time especially in documentaries or unscripted content as it may be every other word! Use you best judgment and reserve their use for significant pauses and things like that.

Sound descriptors:

Keep in lower case and in square brackets:

[cell phone ringing]

[dog barking]

[tires screech]

[keypad beeps]

[gunshot]

If the sound is a one off, use [laughs]. If it is more prolonged, use [laughing].

If it continues even further it might be worth a “reminder” say, [phone continues ringing]

For two simultaneous sounds use the same format as dual speakers:

-[dog barking]

-[wind howling]

You also include the sound effect if it occurs simultaneous to the dialogue:

-Hi, how are you?

-[wind howling]

In terms of when to use sound descriptors, title sounds that are plot pertinent and prominent in the mix.

For example if we see a character react to a say door opening or closing out of shot, obviously make sure you title that. A character’s reactions are a good way to decide what to include. 

No need to add in sounds that don’t add to the development of the plot or establishment of atmosphere but do consider why certain sounds have been included in the mix and whether they help establish meaning for a deaf or hard-of-hearing audience.

A good example is a character walking into an office. The extraneous office sounds may be in the background (phones ringing, office chatter) but it’s not really necessary to title any of that stuff. It’s just background noise essentially and not relevant to that character.

If it is obvious from the onscreen action what the sound is, it is not always necessary to title it as well like a gun being fired onscreen or a large explosion. Try and use your best judgment in cases like this.

For characters crying, yelling, whimpering, and so on, makes sure you specify what sound they are making – in those cases from looking at them onscreen, it’s not going to be obvious what the sound is as supposed to a gunshot or explosion!

Try and time sound descriptors for the length the sound appears unless it continues for way too long of course.

For general crowd scenes, you can add [indistinct chatter] or [multiple overlapping voices] or [audience cheering]. 

Songs & music:

For English SDH we include the song lyrics but do check for special instructions. 

You will need to add an 8^th note at the beginning and end of each line and sound effects if necessary and italicize such as:

♪ My baby loves me, yeah, ooh, ooh ♪

Try and add a song title too if you can find it before you start titling the lyrics (use Shazam app on your phone):

[“Yellow Submarine” by The Beatles playing] then start titling the lyrics as they appear.

For unidentifiable songs or generic music playing in the background you can use:

[country music playing] or [mariachi music playing] 

For the general soundtrack of a show or feature, you can add descriptors like:

[pulsing electronic music playing] [ominous music builds] and things like that. I would add these where there is a significant shift in the soundtrack and no dialogue. Use sparingly I would say. For a lot of shows the background music is often ambient and not meant to be noticed. 

Obviously give precedence to dialogue over song lyrics when the two appear together. You can use ellipses if you need to cut off the lyrics for dialogue. 

Listen all the way to the end of files because there may be a song over the final credits where lyrics need titling (always a nasty surprise when you think you are finished!)