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.

Less than people expect: the video, or a link to it, its running time, which platform or broadcaster it is going to, and the date you need it by. A rough cut is fine — we would rather quote on what exists than wait for picture lock and lose a week of your schedule. A named project manager comes back with an itemised quote, normally within four working hours.

More than half of enquiries get a reply within thirty minutes during office hours (Monday to Friday, 9am to 6pm UK time), and the itemised quote normally follows within four working hours. After that you have one dedicated project manager who owns the job from brief to final file — not a ticket queue, and not a different name on every email. If it is easier, call +44 207 095 5730 and ask for them by name.

Yes, and it is one of the commonest reasons people get in touch. Tell us it is for a pitch and you get a figure you can put in front of your own client, itemised so it stands up to being picked apart, with no obligation and no follow-up sales calls if the pitch goes elsewhere. If it lands, the quote still holds and we already know the project.

Send it over. Our Price Match Promise covers like-for-like work, and because our quotes are itemised you can see exactly what is being compared — which is usually where the gap turns out to be, in a revision pass, a licence or a delivery format that the cheaper figure quietly left out. If it really is the same work for less, we match it.