Turkish Timed Text Style Guide

This document covers the language specific requirements for Turkish. Please make sure to also review
the General Requirements section and related guidelines for comprehensive instructions surrounding timed text
deliveries to Netflix.

1. Acronyms
 Acronyms should be written without periods between letters: BBC, CIA, USA, UK

2. Character Limitation

 42 characters per line

3. Character Names
 Do not translate proper names (e.g. Peter, Suzanne), unless Netflix provides approved translations.
 Nicknames should only be translated if they convey a specific meaning.
 Use language-specific translations for historical/mythical characters (e.g. Santa Claus)

4. Continuity
 When including ellipses in subtitles, please use the single smart character (U+2026) as opposed to three
dots/periods in a row.(alt 0133)
 Do not use ellipses when a sentence is split between two continuous subtitles.

Subtitle 1    En sonunda

Subtitle 2    benimle anlaşacağını biliyordum. 
Subtitle 1    Buraya kadar gelip
Subtitle 2    eli boş dönmeni hiç istemezdim.
 Use an ellipsis to indicate a pause or an abrupt interruption. In the case of a pause, if the sentence
continues in the next subtitle, use an ellipsis at the beginning of the second subtitle:

Subtitle 1      Bir düşüneyim…

Subtitle 2      ...belki başka bir çözümü vardır.
Subtitle 1      İnanıyorum ki…
Subtitle 2      ...güzel günler göreceğiz.
Subtitle 1       Daha önce de dediğim…
Subtitle 2      Neden bunu konuşmaya devam ediyoruz?
 Use ellipses without a space to indicate that a subtitle is starting mid-sentence.
5. Documentary/Unscripted
 Speaker’s title: only translate the title. Do not include the speaker’s name, company name or character
name as these are redundant.
 Only translate a speaker’s title once, the first time the speaker appears.
 When ongoing dialogue is interrupted by a speaker’s title, use ellipses at the end of the sentence in the
subtitle that precedes it and at the beginning of the sentence in the subtitle that follows it.
         Subtitle 1          Bu filmde…
         Subtitle 2 (FN)   YÖNETMEN
         Subtitle 3          ...toplam altı ay çalıştım.
 Dialogue in TV/movie clips should only be subtitled if plot-pertinent and if the rights have been
granted.
 News tickers/banners from archive clips do not require subtitles unless plot-pertinent.
 Avoid going back and forth between italicized and non-italicized subtitles when the speaker is on and
off screen. If the speaker is on-camera for at least part of the scene, do not italicize. Leave
italics for off-screen narrators.

6. Dual Speakers
 Use a hyphen without a space if two characters speak in one subtitle with a maximum of one character
speaking per line.

7. Font Information
 Font style: Arial as a generic placeholder for proportionalSansSerif
 Font size: relative to video resolution and ability to fit 42 characters across the screen
 Font color: White 

8. On-screen Text

 Forced narrative titles for on-screen text should only be included if plot-pertinent.
 When on-screen text and dialogue overlap, precedence should be given to the most plot-pertinent
message. Avoid over truncating or severely reducing reading speed in order to include both dialogue and on-
screen text
 The duration of the FN subtitle should as much as possible mimic the duration of the on-screen text,
except for cases where reading speed and/or surrounding dialogue takes precedence.
 Forced narratives that are redundant (e.g. identical to onscreen text or covered in the dialogue) must be
deleted.
 Forced narratives for on-screen text should be in ALL CAPS, except for long passages of on screen text
(e.g. prologue or epilogue), which should use sentence case to improve readability.
 Never combine a forced narrative with dialogue in the same subtitle.
 If at all possible, try to avoid interrupting a line of dialogue with a forced narrative.
 If interrupting the dialogue with a forced narrative cannot be avoided, use an ellipsis at the end of the
sentence that precedes it and at the beginning of the one that follows it.
9. Foreign Dialogue

 Foreign dialogue should only be translated if the viewer was meant to understand it (i.e. if it was
subtitled in the original version).
 When using foreign words, always verify spelling, accents and punctuation, if applicable.
 Foreign words should be italicized, unless they have become part of regular usage (e.g. in English, the
following no longer need to be italicized: bon appétit, rendezvous, doppelgänger, zeitgeist, persona non
grata) and unless they are proper names (e.g. a company name).

10. Italics
 Italicize the following:
o Album, book, film and program titles (use quotes for song titles)
o Foreign words (unless they are part of regular usage)
o Dialogue that is heard through electronic media, such as a phone, television, or computer
o Only use italics when the speaker is not in the scene(s), not merely off screen or off camera
o Song lyrics (if rights have been granted)
o Voice-overs
 Do not use italics to indicate emphasis on specific words

11. Line Treatment

 Maximum two lines.

12. Numbers
 From 1 to 10, numbers should be written out: bir, iki, üç, etc.
 Above 10, numbers should be written numerically: 11, 12, 13, etc. 
 Note that the above rules may be broken due to space limitations or reading speed concerns, as well as
for consistency when listing multiple quantities, for example.
 Measurements should be converted to the metric system, unless the original unit of measurement is plot
relevant.

13. Quotes
 Quotes should be used at the start and end of a line of applicable dialogue and not at the start of every
subtitle.
 Use double straight quotation marks (" ") without spaces for regular quotations.
 Use single straight quotation marks (' ') for quotes within quotes.
 Punctuation should be included within the quotation marks if the quote is an independent clause and
outside if it’s not.

14. Reading Speed

 Adult programs: 17 characters per second
 Children’s programs: 13 characters per second

15. Repetitions
 Do not translate words or phrases repeated more than once by the same speaker.
 If the repeated word or phrase is said twice in a row, time subtitle to the audio, but translate only once. 
16. Songs
 Only subtitle plot-pertinent songs if the rights have been granted.
 Opening and ending theme songs should only be subtitled if clearly plot-pertinent (e.g. for children’s
content when the lyrics tell a story) or if instructed by Netflix. Normally, adult programs should not have the
opening songs subtitled, except for SDH(Subtitles for the Deaf and Hard of Hearing ).
 Italicize lyrics.
 Use an uppercase letter at the beginning of each line.
 Use ellipses when a song continues in the background but is no longer subtitled to give precedence to
dialogue.
 Punctuation: only question marks and exclamation marks should be used at the end of a line – no
commas or periods. Commas can be used within the lyric line, if necessary.
 Album titles should be in italics.
 Song titles should be in quotes.

17. Titles
 Main titles: do not subtitle the on-screen main title card.
 Episode titles: do not subtitle episode titles if they do not appear on screen/are not voiced-over. If on-
screen (either as part of the principal photography or burned into video) or voiced-over, please reference the
KNP tool for approved translations.
 Titles of published works, existing movies and TV shows: use official or well-known translations. If
none are available, leave titles in the original language.

18. Special Instructions

 All plot-pertinent dialogue should be subtitled, and takes precedence over background dialogue.
 Dialogue must never be censored. Expletives should be rendered as faithfully as possible.
 Always match the tone of the original content, while remaining relevant to the target audience (e.g.
replicate tone, register, class, formality, etc. in the target language in an equivalent way).
 Deliberate misspellings and mispronunciations should not be reproduced in the translation unless plot-
pertinent.
 Accentuation should be used consistently within the file. 
 Accents are mandatory when they impart a different meaning. Example: hâlâ vs. hala.

19. Subtitles for the Deaf and Hard of Hearing (SDH) Guidelines
 Include as much of the original content as possible.
 Do not simplify or water down the original dialogue.
 Where content has been dubbed into Turkish, please refer to the dubbing script or dubbed audio as the
basis for the SDH file and ensure that the two match as much as reading speed and timings allow.
 Reading speed can be increased to:
 Adult programs: 20 characters per second
 Children’s programs: 17 characters per second
 Truncating the original dialogue should be limited to instances where reading speed and synchronicity
to the audio are an issue.
 For TV/movie clips, all audible lines should be transcribed, if possible. If the audio interferes with
dialogue, please give precedence to most plot-pertinent content.
 All same-language audible songs that do not interfere with dialogue should be titled, if the rights have
been granted.
  Use song title identifiers when applicable - song titles should be in quotes:
["Forever Your Girl" playing]
 Song lyrics should be enclosed with a music note (♪) at the beginning and the end of each subtitle.
 Use brackets [ ] to enclose speaker IDs or sound effects.
 Identifiers/sound effects should be all lowercase, except for proper nouns.
 Only use speaker IDs or sound effects when they cannot be visually identified.
 When a speaker ID is required for a character who has yet to be identified by name, use [man] or
[woman], or [male voice] or [female voice], so as not to provide information that is not yet present in the
narrative.
 Use a generic ID to indicate and describe ambient music (e.g. rock music playing over a stereo).
 Sound effects should be plot-pertinent.
 Sound effects that interrupt dialogue should be treated as follows:
         Subtitle 1: However, lately, I've been...
                         [coughs, sniffs]

         Subtitle 2:  ...seeing a lot more of this.

 Never italicize speaker IDs or sound effects, even when the spoken information is italicized, such as in
a voice-over:
         [narrator]
         Once upon a time, there was…
 In instances of foreign dialogue being spoken:
 If foreign dialogue is translated, use [in language], for example [in Spanish]
 If foreign dialogue is not meant to be understood, use [speaking language], for example
[speaking Spanish]
 Always research the language being spoken – [speaking foreign language] should never be
used 

20. Reference
For all language-related issues not covered in this document, please refer to:
 http://www.tdk.gov.tr/
Subtitle Template Timed Text Style Guide
A subtitle template serves as the basis for subtitling in other languages. A subtitle template is an edited,
positioned, researched, annotated and checked subtitle file, timed to shot and audio, matching the source
language of the associated content (unless it is a pivot file) which is intended to serve as a basis for downstream
interlingual subtitling. Netflix does not expect subtitle templates to be verbatim.
Any timed text created specifically for Netflix - Originals or licensed content - must follow the Netflix timed text
style guides, unless otherwise advised. 
Each language should accommodate timing for better reading speed as they see fit, following the Netflix timing
guidelines.
If you are working on a pivot language template (e.g. an English pivot template for Spanish-language content),
ensure you closely follow the pivot language template guidelines provided below.
Templates should always follow the guidelines featured in this document as well as the TTSG of the language of
the template text, i.e. if it’s an English language template, follow this guide plus the English TTSG. If the
content is in Spanish, follow these guidelines for template creation plus the Spanish TTSG.

1. Template Coverage
 All plot-pertinent dialogue, regardless of the language.
o A list of any foreign dialogue will be provided by Netflix via reference materials if available.
o In the case where foreign dialogue is not provided by Netflix, report to Netflix with a list of
time codes where foreign dialogue occurs, in order to procure the transcription.
o Foreign dialogue should only be included in the template if the viewer was meant to
understand it (i.e. if it was subtitled in the original version), following the guidelines mentioned in section
15.
o Do not subtitle words or phrases repeated more than once by the same speaker.
o If the repeated word or phrase is said twice in a row, time the subtitle event to the audio but
translate only once.
 All plot-pertinent events, regardless of the original language.
o When working with subtitling tools with FN tagging functions, tag forced narratives events by
following these instructions.
o Include dedications such as: “Based on true events”, “In loving memory of Jane”, etc. 
o When on-screen text and dialogue overlap, precedence should be given to the most plot
pertinent message. Avoid over truncating or severely reducing reading speed in order to include both
dialogue and on-screen text. 
o Forced narratives that are covered in the dialogue must be deleted.
o The duration of the FN subtitle should as much as possible mimic the duration of the on-screen
text, except for cases where reading speed and/or surrounding dialogue takes precedence.
o Never combine a forced narrative with dialogue in the same subtitle box.
o During the creation of the language templates, annotations should be made in order to provide
additional context to translators. This should include notes for cultural references, idioms, jokes, etc. 
 For documentaries and unscripted shows:
o Include on-screen text identifying speakers (name, company, title, etc.) in the template when
the speaker appears for the first time. This information is not redundant for languages that use different
writing systems.
  Dialogue in TV/movie clips should only be subtitled if plot-pertinent and if the rights have been
granted.
 News tickers/banners from archive clips do not require subtitles unless plot-pertinent.
 If italicization is applicable, avoid going back and forth between italicized and non-italicized subtitles
when the speaker is on and off screen. If the speaker is on-camera for at least part of the scene, do not
italicize. Leave italics for off-screen narrators

2. Annotations
 During the creation of the template, annotations should be added in English in order to provide
additional context to translators.
 Annotations should highlight and explain:
 Cultural references
 Slang
 Idioms
 Jokes
 Complex grammar
 Puns and plays on words
 Sarcasm and irony
 Register
 Formality and class
 Tone
 Intent
 Relationships between characters
 Names or nicknames
 Age
 Spatial location and distance
 Cultural nuance relating to race, religion, geo-political and political points, ethnicity, LGBT+
 Highlight levels of offensiveness of the source language, especially if a translation choice has
been made to avoid trigger words in the pivot translation
 And any other context needed to set up translators for success
 There is no need to add annotations for anything defined in the nominated dictionary.
 These are not optional and should be considered during the creation of all templates, regardless of the
source language.
 Annotations should be included in files using the annotations function.

3. Brackets
 In general, avoid using brackets unless a specific format (e.g. a phone number area code) requires it.
Square brackets may be used in SDH files for sound labels and speaker identifiers.
 When writing FNs for on-screen text where punctuation is present, the same brackets, slashes and other
punctuation may be replicated.

4. Capitalization
 Subtitles containing dialogue must always use sentence case.
 FNs for dialogue must always use sentence case.
 FNs for on-screen text should always use all caps except for long passages of on-screen text (e.g.
prologue or epilogue), which should use sentence case to improve readability.
 Ensure language specific guidelines around capitalization are always adhered to. Please follow all
casing and capitalization rules which feature in the TTSG of the same language as the template/source audio.
5. Character Limitation
 42 characters per line for most Latin alphabet languages
 Ensure you follow the characters per line limitations as specified in the language specific TTSG

6. Character Names (KNP:Key Names & Phrases)

When creating templates:
 Names should appear in the template as they are said in the audio.
 Include annotations to highlight or explain the relevance of any nicknames or other forms of address.
 Refer to language specific guidelines or KNP documentation for information on how to transcribe
names and proper nouns, ensuring all irregular or stylized spellings are captured.

7. Consistency
 KNPs must be created and used for translation to ensure consistency across episodes and seasons.
Please discuss with your Netflix contact the most suitable KNP workflow for your project.

8. Contractions and abbreviations

 Always follow the guidelines on contractions and abbreviations from the TTSG of the same language as
the template.

9. Currency
 Currency should not be converted in the template. Any mention of money amounts in dialogue should
remain in the original currency.
 Follow the treatment of numbers and currency as specified in the language-specific TTSG of the
language of the template.

10. Documentaries/Unscripted
 Always follow the audio when names, company names or speaker names are mentioned.
 As with all content types, verify spellings using provided documentation or check with Netflix if in
doubt
 Always include FNs to mimic on-screen text, identifiers and locators and include the speaker’s name,
company name and/or character name in addition to their title to the template, as these are not redundant for
character-based languages. Languages using the Latin alphabet will remove redundancies as needed at the
translation stage
 If dialogue and a plot-pertinent FN appear at the same time, subtitle both if space and reading speed
permit, otherwise dialogue takes precedence
 Only include an FN for on-screen text which identifies a speaker the first time it appears
 When ongoing dialogue is interrupted by a speaker’s title, use an ellipsis at the end of the sentence in
the subtitle that precedes it and at the beginning of the sentence (without a space) in the subtitle that follows
it.
                   Subtitle 1      I worked on this movie…
                   Subtitle 2 (FN)   DIRECTOR
                   Subtitle 3      …for a total of six months.
 Dialogue in TV/movie clips within a piece of content should only be subtitled if plot-pertinent, if the
rights have been granted and this is mentioned in the show guide
 News tickers/banners from archive clips do not require FNs unless plot-pertinent.
 Follow italicization rules closely and avoid switching between italics and non-italics unnecessarily
when the speaker switches between on and off screen
11. Dual Speaker Subtitles
 Use a hyphen without a space to indicate two speakers in one subtitle, with a maximum of one speaker
per line.
            -Are you coming?
            -In a minute.
 Text in each line in a dual speaker subtitle must be a contained sentence and should not carry into the
preceding or subsequent subtitle. Creating shorter sentences and timing appropriately helps to accommodate
this.
 For example: 
o Sub 1
-Has anybody delivered any artwork?
-I don’t think so, 
o Sub 2
but let me check with Irene.
 Should be reformatted as: 
o Sub 1 
Has anybody delivered any artwork?
o Sub 2
I don’t think so
but let me check with Irene.

12. Duration
 Minimum duration: ⅚ (five-sixths) second per subtitle event (e.g. 20 frames for 24fps; 25 frames for
29.97fps)
 Maximum duration: 7 seconds per subtitle event

13. File Format

 Template files must be delivered in TTML (.dfxp, .xml, .ttml) format

14. Font Information

 Font style: Arial as a generic placeholder for proportionalSansSerif
 Font size: relative to video resolution and ability to fit 42 characters across the screen
 Font color: White

15. Foreign Dialogue

 Foreign dialogue should only be included in the template  if the viewer was meant to understand it (i.e.
if it was subtitled in the original version or is stipulated in the show guide)
 When transcribing foreign dialogue, always verify spelling, accents and punctuation, if applicable
 Follow italicization rules closely
 If in doubt, check with Netflix
 If any kind of non-verbal communication appears in the content, e.g. sign language, semaphore or
Morse code, check in the show guide or supplied documents to verify how it should be presented in the
template

16. Glyph List

 Only text/characters included in the NETFLIX Glyph List (version 2) can be used
17. Line Treatment
 2 lines maximum
 Always keep text on one line, unless it exceeds the character limitation. Only break a line when the
characters exceed the limit per row.
 Follow these basic principles when the text has to be broken into 2 lines:
 The line should be broken:
 after punctuation marks
 before conjunctions
 before prepositions
 grammatically and syntactically
 The line break should not separate:
 a noun from an article
 a noun from an adjective
 a first name from a last name
 a verb from a subject pronoun
 a prepositional verb from its preposition
 a phrasal verb from its prepositions
 a verb from an auxiliary, reflexive pronoun or negation
Aim to favour bottom-heavy two-line subtitles where more than one option for the line break presents itself:
Avoid:
I might become the first lady
of this church.
Prefer:
I might become
the first lady of this church.

18. Netflix Credit Translations

 Translations for Netflix Originals title cards must be included in full and forced subtitle streams. For
this reason, the template must contain these instances. It is preferable if these are timed to match the exact
duration and appearance on-screen.

19. Numbers
 From 1 to 10, numbers should be written out: one, two, three, etc. (see below exceptions)
 Above 10, numbers should be written numerically: 11, 12, 13, etc. (see below exceptions)
 When a number between 0 and 99 begins a sentence, it should always be spelled out. Numbers over 100
which start a sentence can be written numerically
 Good judgement may be applied where there are space limitations or reading speed concerns
 Ensure consistency in sequences which feature numbers and counting
 When writing percentages, always write in numerals and use the % symbol
 When adding symbols for units of measurement, either metric or imperial, follow the appropriate SI
style for the source language
 For long sequences of numbers, e.g. phone numbers or social security numbers, always use numerals
and follow the spacing and formatting appropriate to the region
 Always use numerals when writing units of measurement
 Always write out ordinal numbers as words when not used in reference to dates, e.g. “They came first in
the race”, “This is the second time I have told you”. Write ordinal numbers numerically when in reference to
date, e.g. “1st March” or when they need to be replicated in an FN for on-screen text
20. On-screen Text
 Forced narrative titles for on-screen text should only be included if plot-pertinent and as specified in the
show guide (where available)
 When on-screen text and dialogue overlap, precedence should be given to the most plot-pertinent
message.
 Avoid over truncating or severely reducing reading speed in order to include both dialogue and on-
screen text
 Follow the guidelines for timings of FNs for on-screen text as found in the Netflix subtitle timing
guidelines
 Forced narratives for on-screen text should be in ALL CAPS, except for long passages of on-screen text
(e.g. prologue or epilogue), which should use sentence case to improve readability
 Do not end an FN for on-screen text with a period/full stop unless the FN represents long passages of
on-screen text which needs to be punctuated
 Do not use italics in an FN representing on-screen text, even if a title or foreign word is present
 Never combine a forced narrative with dialogue in the same subtitle or dual speaker subtitle
 When a plot-pertinent forced narrative interrupts dialogue, use an ellipsis at the end of the sentence in
the subtitle that precedes it and at the beginning of the sentence (without a space) in the subtitle that follows
it.
                     Subtitle 1      I don’t think we should…
                     Subtitle 2 (FN)   NO TRESPASSING
                     Subtitle 3      …go any further.

21. Positioning
 Subtitles should be center justified, center aligned and placed at the bottom of the screen or raised to the
top to avoid clashes in the lower third
 Please ensure subtitles are positioned accordingly to avoid overlap with on-screen text, mouths, faces
and important action happening in the lower third of the screen.
 In cases where overlap is impossible to avoid (text at the top and bottom of screen), the subtitle should
be placed at the bottom of the screen
 Where opening credits require a sequence of subtitles to be raised, ensure that all subtitles in that
sequence are raised (for example, raise all 10 subtitles over an opening credit sequence rather than raising
some of them and creating a sequence where subtitles jump up and down and create a difficult viewing
experience)

22. Punctuation
 Always follow the punctuation guidelines in the chosen resources for the language of the template.
 Avoid using complex punctuation which could be hard for viewers to follow. For example, in English,
avoid using colons and semi-colons and instead use simple, clear sentence structures to aid comprehension.
 Double spaces are not permitted.
 Hash symbols may be used when someone mentions a hashtag. Spell out the word “hashtag” when used
as a verb.
 Ampersands may be used when part of an initialism such as R&B or B&B.

23. Reading Speed

English templates:
 Adult programs: 17 characters per second limit
 Children’s programs: 15 characters per second limit
Non-English language templates:
 Match inter-lingual subtitle reading speed for the same language as specified in the language-specific
TTSGs (i.e. 17 cps for adult content and 13 cps for kids’ content in Spanish)

24. Repetitions
 Do not subtitle words or phrases repeated more than once by the same speaker unless the repetition is
plot-pertinent
 If the repeated word or phrase is said twice in a row, time subtitle to the audio but translate
only once.

25. Segmentation
 Segmentation relates to how sentences are split between subtitles when the sentence needs to be broken
into two or more subtitles.
 Ensure that subtitles are always segmented at a clause level and can be read easily in a logical and
fluent way.

26. Songs
 Opening and ending theme songs should only be included in the template if plot-pertinent (e.g. for
children’s content when the lyrics tell a story), if rights have been granted or if instructed by Netflix.
Normally, adult programs should not have the opening songs subtitled, except for SDH
 Italicize lyrics
 Following language specific guidelines about capitalization
 Use an ellipsis when a song continues in the background but is no longer subtitled to give precedence to
dialogue
 Punctuation: only question marks and exclamation marks should be used at the end of a line – no
commas or periods. Commas can be used within the lyric line, if necessary
 Album titles should be in italics
 Song titles should be in quotes
 Refer to show guide for guidance on inclusion of lyrics where applicable

27. Special Instructions
 Dialogue must never be censored and should always be transcribed true-to-audio within the reading
speed parameters
 If profanity has been dipped or bleeped, replace the letters in the word that have been masked in the
audio with asterisks
 Plot-pertinent dialogue always takes precedence over background dialogue
 Intentional misspellingsand mispronunciations should not be reproduced in
the transcription unless plot-pertinent. Ensure any intentional errors are accompanied
by an annotation highlighting their presence and they are within quotation marks

28. Title Cards/Dedications

 Subtitle all plot pertinent and otherwise relevant on-screen text that is not covered in dialogue even if
redundant, such as: “Based on true events”, “In loving memory of Jane”, etc.

29. Titles
 Main titles: do not subtitle the on-screen main title card unless explicitly instructed
 Episode titles: do not subtitle episode titles if they do not appear on screen/are not voiced-over
 o If on-screen (either as part of the principal photography or burned into video), please add an
“EPISODE TITLE” forced narrative event
 If voiced-over, please subtitle in sync with the audio but following the FN rules of capitalization.

30. Translator Credits

 Please include a subtitle event placeholder for the translator credit as the last event of the English
template:
        “Subtitle translation by:”
 The translator credit should occur after the end of the main program during the copyright disclaimer
card.
 The credit should remain on-screen for a duration of 5 seconds if there is space.
 The translator credit should not be on-screen at the same time as the Netflix Ident.

31. Treatment of brand names

 Ensure all brand names are double checked and verified and are transcribed using the correct and
official capitalization and stylizations

32. TTML Specifications

All TTML files created as templates must adhere to the following technical specifications:
 Only use percentage values. Do not use pixel values.
 Use tts:textAlign and tts:displayAlign for positioning along with static values for tts:extent and
tts:origin.
 tts:fontSize shall be defined as 100%. Do not use pixel values.

33. Pivot language template guidelines

A pivot template is a timed and edited subtitle template which is in a language other than the source language,
intended to act as a bridge between the source language and target languages when unusual language pairs are in
play. For example, to translate a Japanese show into Polish, we may have an English pivot file in the middle to
bridge the gap. As this is an additional layer of language transfer, potentially via a language with different levels
of detail and context, it is vital that the pivot file works in the same way that a direct source → target workflow
would work.
Always follow the template TTSG, the language specific TTSG which pertains to the target language of the
template being originated plus the following guidelines when working on a pivot template.
Always consider if context and meaning is lost when working into a pivot language and what annotations may
help set the translator up for success in the subsequent target language; that is to say that when creating an
English pivot file to work as a bridge between Japanese and Polish, for example, always ensure you add context
and explain as much as possible about the source language file so that the Polish translation represents the
Japanese in an equivalent way, not the English pivot file.
If in doubt, err on the side of over-explanation in the annotations and seek advice if needed.
The pivot language template should resemble a linguistically correct and fluent back translation which is not
overly transcreated or localized.
 Leave all measurements, currencies, dates and times as per the source audio, do not convert
 Avoid localizing cultural references, names, locations, nationalities, titles, etc. Keep as per the source
audio with annotations explaining cultural references and their relevance
 If jokes, word play, puns etc. are lost during the back translation, please provide explanations and a
literal translation in the annotations to allow the translators to work in line with the source audio as opposed
to following only the pivot translation
 Do not change any plot points
  Provide a literal translation or explanation of any idioms or expressions which need to be included
 Aim to keep the sentence length and structure as per the original audio
 When editing down for reading speed, ensure annotations cover any context or meaning lost in the
edited text
 Add extensive annotations for information relating to the following which may be lost in translation
when working via a pivot file:
o Formality, class
o Gender
o Negation and affirmation
o Any switches between definite or indefinite article which need consideration in the target
language
o Mood (indicative, subjunctive, general points around linguistic modality which provide
context)
o Grammatical case if of semantic importance
o Terminology and legal terms
o Explanations and citations for any known quotations or song lyrics
o Cultural references
o Names or nicknames
o Slang
o Idioms
o Jokes
o Complex grammar
o Puns and plays on words
o Sarcasm and irony
o Register
o Tone
o Intent
o Relationships between characters
o Age
o Spatial location and distance
o Cultural nuance relating to race, religion, geo-political and political points, ethnicity, LGBT+
o Highlight levels of offensiveness of the source language, especially if a translation choice has
been made to avoid trigger words in the pivot translation
o Clarity of what pronouns refer to
o And any other context needed to set up translators for success
 Avoid ambiguity in the text

34. Reference
For all language-related issues not covered in this document, please refer to the language specific dictionaries
and grammar references for the language of the template.

 
Timed Text Style Guide: General Requirements

1. Duration

Minimum duration: 5/6 (five-sixths) of a second per subtitle event (e.g. 20 frames for 24fps)

Maximum duration: 7 seconds per subtitle event

2. File Format

Subtitle and SDH files for all languages must be delivered in a TTML (.dfxp or .xml) format, except for
Japanese, which must be delivered in Videotron Lambda Cap format.

3. Glyph List

https://docs.google.com/spreadsheets/d/1NbJoIsZWbnma1ZjSh4FVYANp4bCgOofrf8CB55hZpE/
edit#gid=1451736780

4. Line Treatment

2 lines maximum

Text should usually be kept to one line, unless it exceeds the character limitation. Follow these basic
principles when the text has to be broken into 2 lines:

The line should be broken

-after punctuation marks

-before conjunctions

-before prepositions

The line break should not separate

-a noun from an article

-a noun from an adjective

-a first name from a last name

-a verb from a subject pronoun

-a prepositional verb from its preposition

-a verb from an auxiliary, reflexive pronoun or negation

5. Positioning
All subtitles should be center justified and placed at either the top or bottom of the screen, except
for Japanese, where vertical positioning is allowed (see Japanese Timed Text Style Guide for details).

Please ensure subtitles are positioned accordingly to avoid overlap with onscreen text. In cases
where overlap is impossible to avoid (text at the top and bottom of the screen), the subtitle should
be placed where easier to read.

6. Consistency

KNPs/formality tables must be created and used for translation to ensure consistency across
episodes and seasons. Please discuss with your Netflix contact the most suitable KNP workflow for
your project.

7. Credit Translations

Translations for Netflix Originals title cards must be included in full and forced subtitle streams.
Please refer to the Originals Credit translation document.

The subtitle should be timed to match the exact duration of the on-screen Original credit if possible.

8. Title Cards/Dedications

Subtitle all plot-pertinent and otherwise relevant on-screen text that is not covered in dialogue
and/or redundant in the target language such as: “Based on True Events”, “In Loving Memory of
Jane”, etc.

9. Currency

Currency should not be converted in the subtitle files. Any mention of money amounts in dialogue
should remain in the original currency.

10. Brand Names Treatment

Treatment can be handled in one of the following ways:

Use the same English-language brand name if it is widely known and used in that territory;

Use the name by which that brand is known in that territory;

Use a generic term for the product.

Do not swap one brand for another company's trademarked item.

11. Quotations

It is best practice to originate new translations for any quoted texts, as this allows for a translation
free of rights issues. In cases of a compelling artistic or cultural reason to use an existing translation,
they may be used only if:

the translation is in the public domain (if you are not sure, 100 years is a good rule of thumb)

or, documented permission has been granted and payment received by the author or rights-holder.
12. Translator Credits

Please include the translator credit as the last event of the subtitle file, using the approved
translation provided in the Original Credits translation document.

Translators who have translated an asset should be credited; company credits may not be included.

The translator credit should occur after the end of the main program during the copyright disclaimer
card.

Translator credits are required for episodic content and features only and are not required for
marketing or supplemental assets.

The translator credit should be entirely in the target language of the timed-text file.

The credit should be appropriately timed for reading speed, with a duration of up to 5 seconds

For SDH files, include translator credits only if translating from the original language. If transcribing
the original or dubbed audio, do not include translator credits.

Forced narrative files should credit the subtitle translator, as long as there are translations in the file
other than Netflix provided translations for episode titles and the approved Netflix Original credits
translations.

Translator credits may be omitted only if the translator has submitted a formal waiver of rights to be
credited.

The translator credit should not be on-screen at the same time as the Netflix ident.

If more than one translator has worked on an asset, e.g. when translating from multiple source
languages or when more than one translator has collaborated on a special project, more than one
translator can be mentioned in the same credit, as follows:

Subtitle translation by:

Change Log:
2020-07-27
 Article overhauled, made language agnostic, sections added, removed and re-ordered
2018-06-25
 Revised Section II.19  Special Instructions
2018-06-04
 Section II.10 renamed to On-screen Text
2018-03-09
 Section 2 Reading Speed - moved to Section II, limits increased
 Section 5 Character Limitation - moved to Section II
 Revised section I.6 Positioning - positional data removed, 2nd bullet point added
 Section 8 Italics - moved to Section II, last bullet point added
 Added section I.8 Consistency
 Added section I.10 Title Cards/Dedications
 Section 11 Annotations - moved to Section II
 Added section I.11 Currency
 Added section I.12 Brand Names Treatment
 Added section I.13 Translator Credits
 Revised section I.14 Technical Aspects - renamed and snippet removed
 Added Section II English Template Requirements