Text overlay at screen bottom — translates dialogue or clarifies content for non-native speakers. Also: design device for voiceover or inter-titles.
In the edit, one works with subtitles differently than one might think. It's not just about translation – it's about timing, readability, and the question of when text is even necessary. The raw material is created on set; in the edit, one decides whether and how this text supports the story or burdens it.
Practically, this means subtitles must breathe with the editing rhythm. Dialogue in the original language needs two to three seconds per subtitle line – no less, or we rush the viewer. At the same time, the text shouldn't be longer than two lines, or it blocks too much of the image. In the edit, you ideally place the subtitle a tenth of a second before the spoken word and let it disappear a tenth of a second after the last word. This feels natural.
Subtitles as a stylistic device are another matter. If you need off-screen text – letters, notes, inner monologues – subtitles can appear more elegant than voice-over. They give the viewer time to read and are less intrusive. Intertitles that provide historical context or mark temporal jumps work best when they remain on screen longer than dialogue subtitles and are placed in their own, quiet shot – not overlaid on action sequences.
A common mistake: setting subtitles completely in sync with the cut. This leads to hard fades in and out. Better: let subtitles fade out 2–3 frames before a cut, so the eye has time. And the font size? Smaller monitors at the editing station are deceptive. What looks readable here is too small in the cinema. Rule of thumb: size generously, then adjust afterwards.
Color coding helps in multilingual productions. Different colors for different languages or character groups increase clarity without overloading the image. And importantly: the editor must coordinate the final timecoding with the subtitlers – every frame counts.