Bosnian subtitling services

It depends who is watching, and it is worth deciding before anyone starts timing. Latin is the everyday script and the one in official use in the Federation; Cyrillic is equally official and is what much of Republika Srpska reads. If the campaign has to cover both, we build two files off a single timing pass, which is cheaper than commissioning the second one later and keeps the cue points identical.

Yes, and the letter mapping itself is reliable. The part that needs a person is everything around it: foreign names and brand names do not simply transliterate, and the line lengths move, because dž, lj and nj each shrink from two characters to one going into Cyrillic. So we convert, then re-measure every cue and re-break the lines that need it.

Not as it stands. The three written standards diverge in spelling and in vocabulary. Bosnian keeps an etymological h in words like kahva and carries a much larger Turkish and Arabic loan layer, and viewers notice quickly when a file was clearly made for somewhere else. We can adapt an existing file rather than starting from zero, which is usually the economical route, but it is editorial work by a native Bosnian subtitler.

Whichever one your title commits to, applied everywhere. The standard is generous with variants, so left alone a multi-episode project drifts: one translator writes one form, the next writes another, and the inconsistency surfaces at review. We fix the choices in a project glossary at the start and QA against it, which is far less work than reconciling six episodes afterwards.

Pricing starts at £18 a minute of running video. Length shifts it, so does typing the audio up before spotting, an accessibility or burnt-in version, and the number of formats on the delivery list. A second file in the other alphabet is quoted as an add-on rather than as a fresh job, since the timing pass is shared. Everything is itemised, and the Price Match Promise applies.

Regularly. Bosnian audio gets Bosnian captions and SDH, with speaker labels and the non-dialogue sound a viewer would otherwise miss — what accessibility reviews look for and what a muted social feed needs to work at all. Same-language files go through the same alphabet decision and the same spelling QA as translated ones.

Yes, and it usually saves time. We take the transcript or SRT, time it to picture, and check the spelling is consistent and the alphabet is the one you actually want before cutting the lines to length. Where there is no transcript, our team types the audio up here first. Either way the file reaches the same QA before handover.

Yes. SRT, VTT, STL and TTML all go straight into Premiere Pro, Final Cut Pro, Resolve, Media Composer and the web-based editors the platforms provide. The thing to watch is the preview font inside the editor, which is not necessarily the font the audience sees. If you would rather not handle files at all, we deliver a finished master with the captions already in the picture.