Yoruba subtitling services

Because that letter is built rather than stored. A vowel like ọ́ carries a dot below and an accent above, and Unicode has no single character for the pair, so the accent arrives as a separate combining mark for the font to place. A font that only ever expected one mark puts the second wherever its default rule says, which is why the result can drift off-centre or crowd the dot. We look at it in the font you ship to.

We would advise against it, and here is why. In Yoruba the accent is not emphasis, it is part of which word is on screen, so a file stripped of tone marks reads to a Yoruba audience the way missing letters would read to an English one. Informal typing does drop them, but published and broadcast Yoruba does not. If your delivery spec genuinely requires plain ASCII, tell us at the brief and we will talk it through.

It is a common state for a file to arrive in, and it needs fixing rather than passing through. The underdot and the tone mark do separate jobs: the dot tells you which vowel, the accent tells you which word. Having one without the other is half a spelling. A native Yoruba subtitler puts the tone back by working against the audio, because the mark follows what was said and cannot be worked out from the letters alone.

One form, consistently, and we will match whatever your spec asks for. The composed form writes ọ́ as two code points and the decomposed form as three; both are correct Unicode and both look the same in a player. What causes trouble is a file carrying both, because search, sorting, subtitle QC tools and translation memories will treat the two spellings as unrelated. We normalise once and hold it to the last cue.

Yoruba subtitling is priced by the minute of finished video, from £20, and the Yoruba-specific work is inside that rate rather than added to it. The figure moves with running time, whether we transcribe before translating, whether you need SDH or a burned-in version, and how many output formats leave with the job. Every project is quoted on its own, with the Price Match Promise behind it.

Both, and they are separate pieces of work. Translating an English video into Yoruba subtitles is one job; same-language Yoruba captions and SDH for footage already in Yoruba is another. The second is where tone marking matters most, because the subtitler is writing down what a speaker actually said and can place every accent from the recording rather than inferring it from a script.

Yes, send it across. We spot and time against your transcript or SRT, and the first thing we look at is the state of the marked letters: whether the accents are there at all, and whether the file is using one encoding or two. Without a transcript we work from the Yoruba audio instead. Either route, the file gets the same linguistic and technical QA before it goes back.

They do. Yoruba SRT, VTT, STL and TTML import into Premiere Pro, Final Cut Pro, DaVinci Resolve and the browser-based editors with both marks intact. What to watch for is a tool that re-normalises text on import and silently changes the encoding of every marked letter, so we re-check after any conversion in your chain. To take the font out of the question altogether, we deliver a burned-in MP4 or MOV.