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Textual representation of events and speech in motion imagery From Wikipedia, the free encyclopedia
Subtitles are texts representing the contents of the audio in a film, television show, opera or other audiovisual media. Subtitles might provide a transcription or translation of spoken dialogue. Although naming conventions can vary, captions are subtitles that include written descriptions of other elements of the audio, like music or sound effects. Captions are thus especially helpful to people who are deaf or hard-of-hearing. Subtitles may also add information that is not present in the audio. Localizing subtitles provide cultural context to viewers. For example, a subtitle could be used to explain to an audience unfamiliar with sake that it is a type of Japanese wine. Lastly, subtitles are sometimes used for humor, as in Annie Hall, where subtitles show the characters' inner thoughts, which contradict what they were saying in the audio.
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Creating, delivering, and displaying subtitles is a complicated and multi-step endeavor. First, the text of the subtitles needs to be written. When there is plenty of time to prepare, this process can be done by hand. However, for media produced in real-time, like live television, it may be done by stenographers or using automated speech recognition. Subtitles written by fans, rather than more official sources, are referred to as fansubs. Regardless of who does the writing, they must include information on when each line of text should be displayed.
Second, subtitles need to be distributed to the audience. Open subtitles are added directly to recorded video frames and thus cannot be removed once added. On the other hand, closed subtitles are stored separately, allowing subtitles in different languages to be used without changing the video itself. In either case, a wide variety of technical approaches and formats are used to encode the subtitles.
Third, subtitles need to be displayed to the audience. Open subtitles are always shown whenever the video is played because they are part of it. However, displaying closed subtitles is optional since they are overlaid onto the video by whatever is playing it. For example, media player software might be used to combine closed subtitles with the video itself. In some theaters or venues, a dedicated screen or screens are used to display subtitles. If that dedicated screen is above rather than below the main display area, the subtitles are called surtitles.
Sometimes, mainly at film festivals, subtitles may be shown on a separate display below the screen, thus saving the filmmaker from creating a subtitled copy for just one showing.
Professional subtitlers usually work with specialized computer software and hardware where the video is digitally stored on a hard disk, making each frame instantly accessible. Besides creating the subtitles, the subtitler usually tells the computer software the exact positions where each subtitle should appear and disappear. For cinema films, this task is traditionally done by separate technicians. The result is a subtitle file containing the actual subtitles and position markers indicating where each subtitle should appear and disappear. These markers are usually based on timecode if it is a work for electronic media (e.g., TV, video, DVD) or on film length (measured in feet and frames) if the subtitles are to be used for traditional cinema film.
The finished subtitle file is used to add the subtitles to the picture, either:
Subtitles can also be created by individuals using freely available subtitle-creation software like Subtitle Workshop, MovieCaptioner or Subtitle Composer, and then hardcode them onto a video file with programs such as VirtualDub in combination with VSFilter which could also be used to show subtitles as softsubs in many software video players.
For multimedia-style Webcasting, check:
Some programs and online software allow automatic captions, mainly using speech-to-text features.
For example, on YouTube, automatic captions are available in Arabic, Bengali, Dutch, English, French, German, Hebrew, Hindi, Indonesian, Italian, Japanese, Korean, Portuguese, Russian, Spanish, Turkish, Ukrainian, and Vietnamese. If automatic captions are available for the language, they will automatically be published on the video.[1][2]
Automatic captions are generally less accurate than human-typed captions. Automatic captions regularly fail to distinguish between similar-sounding words, such as to, two, and too. This can be particularly problematic with educational material, such as lecture recordings, that may include uncommon vocabulary and proper names. This problem can be compounded with poor audio quality (drops in audio, background noise, and people talking over each other, for example). Disability rights groups have emphasised the need for these captions to be reviewed by a human prior to publishing, particularly in cases where students' grades may be adversely affected by inadequate captioning.[3]
Same-language captions, i.e., without translation, were primarily intended as an aid for people who are deaf or hard-of-hearing.
Closed captioning is the American term for closed subtitles specifically intended for people who are deaf or hard-of-hearing. These are a transcription rather than a translation, and usually also contain lyrics and descriptions of important non-dialogue audio such as (SIGHS), (WIND HOWLING), ("SONG TITLE" PLAYING), (KISSES), (THUNDER RUMBLING) and (DOOR CREAKING). From the expression "closed captions", the word "caption" has in recent years come to mean a subtitle intended for the deaf or hard-of-hearing, be it "open" or "closed". In British English, "subtitles" usually refers to subtitles for the deaf or hard-of-hearing (SDH); however, the term "SDH" is sometimes used when there is a need to make a distinction between the two.
Programs such as news bulletins, current affairs programs, sports, some talk shows, and political and special events utilize real time or online captioning.[4] Live captioning is increasingly common, especially in the United Kingdom and the United States, as a result of regulations that stipulate that virtually all TV eventually must be accessible for people who are deaf and hard-of-hearing.[5] In practice, however, these "real time" subtitles will typically lag the audio by several seconds due to the inherent delay in transcribing, encoding, and transmitting the subtitles. Real time subtitles are also challenged by typographic errors or mishearing of the spoken words, with no time available to correct before transmission.
Some programs may be prepared in their entirety several hours before broadcast, but with insufficient time to prepare a timecoded caption file for automatic play-out. Pre-prepared captions look similar to offline captions, although the accuracy of cueing may be compromised slightly as the captions are not locked to program timecode.[4]
Newsroom captioning involves the automatic transfer of text from the newsroom computer system to a device which outputs it as captions. It does work, but its suitability as an exclusive system would only apply to programs which had been scripted in their entirety on the newsroom computer system, such as short interstitial updates.[4]
In the United States and Canada, some broadcasters have used it exclusively and simply left uncaptioned sections of the bulletin for which a script was unavailable.[4] Newsroom captioning limits captions to pre-scripted materials and, therefore, does not cover all of the news, weather and sports segments of a typical local news broadcast which are typically not pre-scripted. This includes last-second breaking news or changes to the scripts, ad-lib conversations of the broadcasters, and emergency or other live remote broadcasts by reporters in-the-field. By failing to cover items such as these, newsroom style captioning (or use of the teleprompter for captioning) typically results in coverage of less than 30% of a local news broadcast.[6]
Communication access real-time translation (CART) stenographers, who use a computer with using either stenotype or Velotype keyboards to transcribe stenographic input for presentation as captions within two or three seconds of the representing audio, must caption anything which is purely live and unscripted[where?];[4] however, more recent developments include operators using speech recognition software and re-voicing the dialogue. Speech recognition technology has advanced so quickly in the United States that about half of all live captioning was through speech recognition as of 2005.[citation needed] Real-time captions look different from offline captions, as they are presented as a continuous flow of text as people speak.[4][clarification needed]
Stenography is a system of rendering words phonetically, and English, with its multitude of homophones (e.g., there, their, they're), is particularly unsuited to easy transcriptions. Stenographers working in courts and inquiries usually have 24 hours in which to deliver their transcripts. Consequently, they may enter the same phonetic stenographic codes for a variety of homophones, and fix up the spelling later. Real-time stenographers must deliver their transcriptions accurately and immediately. They must therefore develop techniques for keying homophones differently, and be unswayed by the pressures of delivering accurate product on immediate demand.[4]
Submissions to recent captioning-related inquiries have revealed concerns from broadcasters about captioning sports. Captioning sports may also affect many different people because of the weather outside of it. In much sport captioning's absence, the Australian Caption Centre submitted to the National Working Party on Captioning (NWPC), in November 1998, three examples of sport captioning, each performed on tennis, rugby league and swimming programs:
The NWPC concluded that the standard they accept is the comprehensive real-time method, which gives them access to the commentary in its entirety. Also, not all sports are live. Many events are pre-recorded hours before they are broadcast, allowing a captioner to caption them using offline methods.[4]
Because different programs are produced under different conditions, a case-by-case basis must consequently determine captioning methodology. Some bulletins may have a high incidence of truly live material, or insufficient access to video feeds and scripts may be provided to the captioning facility, making stenography unavoidable. Other bulletins may be pre-recorded just before going to air, making pre-prepared text preferable.[4]
News captioning applications currently available are designed to accept text from a variety of inputs: stenography, Velotype, QWERTY, ASCII import, and the newsroom computer. This allows one facility to handle a variety of online captioning requirements and to ensure that captioners properly caption all programs.[4]
Current affairs programs usually require stenographic assistance. Even though the segments which comprise a current affairs program may be produced in advance, they are usually done so just before on-air time and their duration makes QWERTY input of text unfeasible.[4]
News bulletins, on the other hand, can often be captioned without stenographic input (unless there are live crosses or ad-libbing by the presenters). This is because:
For non-live, or pre-recorded programs, television program providers can choose offline captioning. Captioners gear offline captioning toward the high-end television industry, providing highly customized captioning features, such as pop-on style captions, specialized screen placement, speaker identifications, italics, special characters, and sound effects.[7]
Offline captioning involves a five-step design and editing process, and does much more than simply display the text of a program. Offline captioning helps the viewer follow a story line, become aware of mood and feeling, and allows them to fully enjoy the entire viewing experience. Offline captioning is the preferred presentation style for entertainment-type programming.[7]
Subtitles for the deaf or hard-of-hearing (SDH) is an American term introduced by the DVD industry.[8] It refers to regular subtitles in the original language where important non-dialogue information has been added, as well as speaker identification, which may be useful when the viewer cannot otherwise visually tell who is saying what.
The only significant difference for the user between SDH subtitles and closed captions is their appearance: SDH subtitles usually are displayed with the same proportional font used for the translation subtitles on the DVD; however, closed captions are displayed as white text on a black band, which blocks a large portion of the view. Closed captioning is falling out of favor as many users have no difficulty reading SDH subtitles, which are text with contrast outline. In addition, DVD subtitles can specify many colors on the same character: primary, outline, shadow, and background. This allows subtitlers to display subtitles on a usually translucent band for easier reading; however, this is rare, since most subtitles use an outline and shadow instead, in order to block a smaller portion of the picture. Closed captions may still supersede DVD subtitles, since many SDH subtitles present all of the text centered (an example of this is DVDs and Blu-ray Discs manufactured by Warner Bros.), while closed captions usually specify position on the screen: centered, left align, right align, top, etc. This is helpful for speaker identification and overlapping conversation. Some SDH subtitles (such as the subtitles of newer Universal Studios DVDs and Blu-ray Discs and most 20th Century Fox Blu-ray Discs, and some Columbia Pictures DVDs) do have positioning, but it is not as common.
DVDs for the U.S. market now sometimes have three forms of English subtitles: SDH subtitles; English subtitles, helpful for viewers who may not be hearing impaired but whose first language may not be English (although they are usually an exact transcript and not simplified); and closed caption data that is decoded by the end-user's closed caption decoder. Most anime releases in the U.S. only include translations of the original material as subtitles; therefore, SDH subtitles of English dubs ("dubtitles") are uncommon. [9][10]
High-definition disc media (HD DVD, Blu-ray Disc) uses SDH subtitles as the sole method because technical specifications do not require HD to support line 21 closed captions. Some Blu-ray Discs, however, are said to carry a closed caption stream that only displays through standard-definition connections. Many HDTVs allow the end-user to customize the captions, including the ability to remove the black band.
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Song lyrics are not always captioned, as additional copyright permissions may be required to reproduce the lyrics on-screen as part of the subtitle track. In October 2015, major studios and Netflix were sued over this practice, citing claims of false advertising (as the work is henceforth not completely subtitled) and civil rights violations (under California's Unruh Civil Rights Act, guaranteeing equal rights for people with disabilities). Judge Stephen Victor Wilson dismissed the suit in September 2016, ruling that allegations of civil rights violations did not present evidence of intentional discrimination against viewers with disabilities, and that allegations over misrepresenting the extent of subtitles "fall far short of demonstrating that reasonable consumers would actually be deceived as to the amount of subtitled content provided, as there are no representations whatsoever that all song lyrics would be captioned, or even that the content would be 'fully' captioned."[11][12]
Although same-language subtitles and captions are produced primarily with the deaf and hard-of-hearing in mind, many others use them for convenience. Subtitles are increasingly popular among younger viewers for improved understanding and faster comprehension. Subtitles allow viewers to understand dialogue that is poorly enunciated, delivered quietly, in unfamiliar dialects, or spoken by background characters. A 2021 UK survey found that 80% of viewers between 18 and 25 regularly used subtitles, while less than a quarter of those between 56 and 75 did.[13][14][15]
Same language subtitling (SLS) is the use of synchronized captioning of musical lyrics (or any text with an audio or video source) as a repeated reading activity. The basic reading activity involves students viewing a short subtitled presentation projected onscreen, while completing a response worksheet. To be really effective, the subtitling should have high quality synchronization of audio and text, and better yet, subtitling should change color in syllabic synchronization to audio model, and the text should be at a level to challenge students' language abilities.[16][17] Studies (including those by the University of Nottingham and the What Works Clearinghouse of the United States Department of Education) have found that use of subtitles can help promote reading comprehension in school-aged children.[18] Same-language captioning can improve literacy and reading growth across a broad range of reading abilities.[19][20] It is used for this purpose by national television broadcasters in China and in India such as Doordarshan.[citation needed][19][21]
In some Asian television programming, captioning is considered a part of the genre, and has evolved beyond simply capturing what is being said. The captions are used artistically; it is common to see the words appear one by one as they are spoken, in a multitude of fonts, colors, and sizes that capture the spirit of what is being said. Languages like Japanese also have a rich vocabulary of onomatopoeia which is used in captioning.
In some East Asian countries, especially Chinese-speaking ones, subtitling is common in all taped television programs and films. In these countries, written text remains mostly uniform while regional dialects in the spoken form can be mutually unintelligible. Therefore, subtitling offers a distinct advantage to aid comprehension. With subtitles, programs in Mandarin or any dialect can be understood by viewers unfamiliar with it.
According to HK Magazine, the practice to caption in Standard Chinese was pioneered in Hong Kong during the 1960s by Run Run Shaw of Shaw Brothers Studio. In a bid to reach the largest audience possible, Shaw had already recorded his films in Mandarin, reasoning it would be most universal variety of Chinese. However, this did not guarantee that the films could be understood by non-Mandarin-speaking audiences, and dubbing into different varieties was seen as too costly. The decision was thus made to include Standard Chinese subtitles in all Shaw Brothers films. As the films were made in British-ruled Hong Kong, Shaw also decided to include English subtitles to reach English speakers in Hong Kong and allow for exports outside Asia.[22]
 | You can help expand this section with text translated from the corresponding article in Japanese. (December 2023) Click [show] for important translation instructions.
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On-screen subtitles as seen in Japanese variety and other reality television shows are more for decorative purpose, something that is not seen in television in Europe and the Americas. Some shows even place sound effects over those subtitles. This practice of subtitling has been spread to neighbouring countries including South Korea and Taiwan. ATV in Hong Kong once practiced this style of decorative subtitles on its variety shows while it was owned by Want Want Holdings in Taiwan (which also owns CTV and CTI) during 2009.
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Translation basically means conversion of one language into another language in written or spoken form. Subtitles can be used to translate dialogue from a foreign language into the native language of the audience. It is not only the quickest and cheapest method of translating content, but is also usually preferred as it is possible for the audience to hear the original dialogue and voices of the actors.
Subtitle translation may be different from the translation of written text or written language. Usually, during the process of creating subtitles for a film or television program, the picture and each sentence of the audio are analyzed by the subtitle translator; also, the subtitle translator may or may not have access to a written transcript of the dialogue. Especially in the field of commercial subtitles, the subtitle translator often interprets what is meant, rather than translating the manner in which the dialogue is stated; that is, the meaning is more important than the form—the audience does not always appreciate this, as it can be frustrating for people who are familiar with some of the spoken language; spoken language may contain verbal padding or culturally implied meanings that cannot be conveyed in the written subtitles. Also, the subtitle translator may also condense the dialogue to achieve an acceptable reading speed, whereby purpose is more important than form.
Especially in fansubs, the subtitle translator may translate both form and meaning. The subtitle translator may also choose to display a note in the subtitles, usually in parentheses ("(" and ")"), or as a separate block of on-screen text—this allows the subtitle translator to preserve form and achieve an acceptable reading speed; that is, the subtitle translator may leave a note on the screen, even after the character has finished speaking, to both preserve form and facilitate understanding. For example, Japanese has multiple first-person pronouns (see Japanese pronouns) and each pronoun is associated with a different degree of politeness. In order to compensate during the English translation process, the subtitle translator may reformulate the sentence, add appropriate words or use notes.
Real-time translation subtitling usually involves an interpreter and a stenographer working concurrently, whereby the former quickly translates the dialogue while the latter types; this form of subtitling is rare. The unavoidable delay, typing errors, lack of editing, and high cost mean that real-time translation subtitling is in low demand. Allowing the interpreter to directly speak to the viewers is usually both cheaper and quicker; however, the translation is not accessible to people who are deaf and hard-of-hearing.
Some subtitlers purposely provide edited subtitles or captions to match the needs of their audience, for learners of the spoken dialogue as a second or foreign language, visual learners, beginning readers who are deaf or hard of hearing and for people with learning or mental disabilities. For example, for many of its films and television programs, PBS displays standard captions representing speech from the program audio, word-for-word, if the viewer selects "CC1" by using the television remote control or on-screen menu; however, they also provide edited captions to present simplified sentences at a slower rate, if the viewer selects "CC2". Programs with a diverse audience also often have captions in another language. This is common with popular Latin American soap operas in Spanish. Since CC1 and CC2 share bandwidth, the U.S. Federal Communications Commission (FCC) recommends translation subtitles be placed in CC3. CC4, which shares bandwidth with CC3, is also available, but programs seldom use it.
The two alternative methods of 'translating' films in a foreign language are dubbing, in which other actors record over the voices of the original actors in a different language, and lectoring, a form of voice-over for fictional material where a narrator tells the audience what the actors are saying while their voices can be heard in the background. Lectoring is common for television in Russia, Poland, and a few other East European countries, while cinemas in these countries commonly show films dubbed or subtitled.
The preference for dubbing or subtitling in various countries is largely based on decisions made in the late 1920s and early 1930s. With the arrival of sound film, the film importers in Germany, Italy, France, Switzerland, Luxembourg, Austria, San Marino, Liechtenstein, Monaco, Slovakia, Hungary, Belarus, Andorra, Spain, Canada, New Zealand, Ireland, United States and United Kingdom decided to dub the foreign voices, while the rest of Europe elected to display the dialogue as translated subtitles. The choice was largely due to financial reasons (subtitling is more economical and quicker than dubbing), but during the 1930s it also became a political preference in Germany, Italy and Spain; an expedient form of censorship that ensured that foreign views and ideas could be stopped from reaching the local audience, as dubbing makes it possible to create a dialogue which is totally different from the original. In larger German cities a few "special cinemas" use subtitling instead of dubbing.
Dubbing is still the norm and favored form in these four countries, but the proportion of subtitling is slowly growing, mainly to save cost and turnaround-time, but also due to a growing acceptance among younger generations, who are better readers and increasingly have a basic knowledge of English (the dominant language in film and TV) and thus prefer to hear the original dialogue.
Nevertheless, in Spain, for example, only public TV channels show subtitled foreign films, usually at late night. It is extremely rare that any Spanish TV channel shows subtitled versions of TV programs, series or documentaries. With the advent of digital land broadcast TV, it has become common practice in Spain to provide optional audio and subtitle streams that allow watching dubbed programs with the original audio and subtitles. In addition, only a small proportion of cinemas show subtitled films. Films with dialogue in Galician, Catalan or Basque are always dubbed, not subtitled, when they are shown in the rest of the country. Some non-Spanish-speaking TV stations subtitle interviews in Spanish; others do not.
In many Latin American countries, local network television will show dubbed versions of English-language programs and movies, while cable stations (often international) more commonly broadcast subtitled material. Preference for subtitles or dubbing varies according to individual taste and reading ability, and theaters may order two prints of the most popular films, allowing moviegoers to choose between dubbing or subtitles. Animation and children's programming, however, is nearly universally dubbed, as in other regions.
Since the introduction of the DVD and, later, the Blu-ray Disc, some high budget films include the simultaneous option of both subtitles and dubbing. Often in such cases, the translations are made separately, rather than the subtitles being a verbatim transcript of the dubbed scenes of the film. While this allows for the smoothest possible flow of the subtitles, it can be frustrating for someone attempting to learn a foreign language.
In the traditional subtitling countries, dubbing is generally regarded as something strange and unnatural and is only used for animated films and TV programs intended for pre-school children. As animated films are "dubbed" even in their original language and ambient noise and effects are usually recorded on a separate sound track, dubbing a low quality production into a second language produces little or no noticeable effect on the viewing experience. In dubbed live-action television or film, however, viewers are often distracted by the fact that the audio does not match the actors' lip movements. Furthermore, the dubbed voices may seem detached, inappropriate for the character, or overly expressive, and some ambient sounds may not be transferred to the dubbed track, creating a less enjoyable viewing experience.
In several countries or regions nearly all foreign language TV programs are subtitled, instead of dubbed, such as:
It is also common that television services in minority languages subtitle their programs in the dominant language as well. Examples include the Welsh S4C and Irish TG4 who subtitle in English and the Swedish Yle Fem in Finland who subtitle in the majority language Finnish.
In Wallonia (Belgium) films are usually dubbed, but sometimes they are played on two channels at the same time: one dubbed (on La Une) and the other subtitled (on La Deux), but this is no longer done as frequently due to low ratings.
In Australia, one FTA network, SBS airs its foreign-language shows subtitled in English.
Subtitles in the same language on the same production can be in different categories:
Subtitles exist in two forms; open subtitles are 'open to all' and cannot be turned off by the viewer; closed subtitles are designed for a certain group of viewers, and can usually be turned on or off or selected by the viewer – examples being teletext pages, U.S. Closed captions (608/708), DVB Bitmap subtitles, DVD or Blu-ray subtitles.
While distributing content, subtitles can appear in one of three types:
In other categorization, digital video subtitles are sometimes called internal, if they are embedded in a single video file container along with video and audio streams, and external if they are distributed as separate file (that is less convenient, but it is easier to edit or change such file).
| Feature | Hard | Prerendered | Soft |
|---|---|---|---|
| Can be turned off or on | No | Yes | Yes |
| Multiple subtitle variants (for example, languages) | Yes, though all displayed at the same time | Yes | Yes |
| Editable | No | Difficult, but possible | Yes |
| Player requirements | None | Majority of players support DVD subtitles | Usually requires installation of special software, unless national regulators mandate its distribution |
| Visual appearance, colors, font quality | Low to high, depending on video resolution and compression | Low | Low to high, depending on player and subtitle file format |
| Transitions, karaoke and other special effects | Highest | Low | Depends on player and subtitle file format, but generally poor[citation needed] |
| Distribution | Inside original video | Separate low-bitrate video stream, commonly multiplexed | Relatively small subtitle file or instructions stream, multiplexed or separate |
| Additional overhead | None, though subtitles added by re-encoding of the original video may degrade overall image quality, and the sharp edges of text may introduce artifacts in surrounding video | High | Low |
| Name | Extension | Type | Text styling | Metadata | Timings | Timing precision |
|---|---|---|---|---|---|---|
| AQTitle | .aqt | Text | Yes | Yes | Framings | As frames |
| EBU-TT-D[27] | — | XML | Yes | Yes | Elapsed time | Unlimited |
| Gloss Subtitle | .gsub | HTML, XML | Yes | Yes | Elapsed time | 10 milliseconds |
| JACOSub[28] | .jss | Text with markup | Yes | No | Elapsed time | As frames |
| MicroDVD | .sub | Text | No | No | Framings | As frames |
| MPEG-4 Timed Text | .ttxt (or mixed with audio-video stream) | XML | Yes | No | Elapsed time | 1 millisecond |
| MPSub | .sub | Text | No | Yes | Sequential time | 10 milliseconds |
| Ogg Writ | — (embedded in Ogg container) | Text | Yes | Yes | Sequential granules | Dependent on bitstream |
| Phoenix Subtitle | .pjs | Text | No | No | Framings | As frames |
| PowerDivX | .psb | Text | No | No | Elapsed time | 1 second |
| RealText[29] | .rt | HTML | Yes | No | Elapsed time | 10 milliseconds |
| SAMI | .smi | HTML | Yes | Yes | Framings | As frames |
| Spruce subtitle format[30] | .stl | Text | Yes | Yes | Sequential time+frames | Sequential time+frames |
| Structured Subtitle Format | .ssf | XML | Yes | Yes | Elapsed time | 1 millisecond |
| SubRip | .srt | Text | Yes | No | Elapsed time | 1 millisecond |
| (Advanced) SubStation Alpha[31] | .ssa or .ass (advanced) | Text | Yes | Yes | Elapsed time | 10 milliseconds |
| SubViewer | .sub or .sbv | Text | No | Yes | Elapsed time | 10 milliseconds |
| Universal Subtitle Format | .usf | XML | Yes | Yes | Elapsed time | 1 millisecond |
| VobSub | .sub + .idx | Image | — | — | Elapsed time | 1 millisecond |
| WebVTT | .vtt | HTML | Yes | Yes | Elapsed time | 1 millisecond |
| XSUB | — (embedded in .divx container) | Image | — | — | Elapsed time | 1 millisecond |
There are still many more uncommon formats. Most of them are text-based and have the extension .txt.
For cinema movies shown in a theatre:
For movies on DVD Video:
For TV broadcast:
Subtitles created for TV broadcast are stored in a variety of file formats. The majority of these formats are proprietary to the vendors of subtitle insertion systems.
Broadcast subtitle formats include: .ESY, .XIF, .X32, .PAC, .RAC, .CHK, .AYA, .890, .CIP, .CAP, .ULT, .USF, .CIN, .L32, .ST4, .ST7, .TIT, .STL
The EBU format defined by Technical Reference 3264-E[32] is an 'open' format intended for subtitle exchange between broadcasters. Files in this format have the extension .stl (not to be mixed up with text "Spruce subtitle format" mentioned above, which also has extension .stl)
For internet delivery:
The Timed Text format currently a "Candidate Recommendation" of the W3C (called DFXP[33]) is also proposed as an 'open' format for subtitle exchange and distribution to media players, such as Microsoft Silverlight.
Most times a foreign language is spoken in film, subtitles are used to translate the dialogue for the viewer. However, there are occasions when foreign dialogue is left unsubtitled (and thus incomprehensible to most of the target audience). This is often done if the movie is seen predominantly from the viewpoint of a particular character who does not speak the language. Such absence of subtitles allows the audience to feel a similar sense of incomprehension and alienation that the character feels. An example of this is seen in Not Without My Daughter. The Persian dialogue spoken by the Iranian characters is not subtitled because the main character Betty Mahmoody does not speak Persian and the audience is seeing the film from her viewpoint.
A variation of this was used in the video game Max Payne 3. Subtitles are used on all 3 the English, Spanish (only Chapter 11) and Portuguese (Chapter 1, 2, 3, 5, 6, 7, 9, 10, 12, 13 and 14 only) dialogues, but the latter is left untranslated[34] as the main character does not understand the language.
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Occasionally, movies will use subtitles as a source of humor, parody and satire.
One unintentional source of humor in subtitles comes from illegal DVDs produced in non-English-speaking countries (especially China). These DVDs often contain poorly worded subtitle tracks, possibly produced by machine translation, with humorous results. One of the better-known examples is a copy of Star Wars: Episode III – Revenge of the Sith whose opening title was subtitled, "Star war: The backstroke of the west".[39]
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