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Comment Re:Fuck 'em (Score 1) 344

People can't use the subtitles as a stand alone work:

When I was in school, I read scripts of plays. Seems analogous to a script of a movie. I agree that there is definitely more value to having a visual performance as well as the script, but the script is not valueless, and I don't see why the creator/owner of that script should not have a copyright claim to it.

Comment Re:Really?!? (Score 1) 1448

I agree with your argument that a civil union that is equal under law to marriage is equal in it's application. However, the name does carry weight, and calling something that is equal in every respect by a different name marginalizes it.

For example, suppose we called immigrants who have gained citizenship "Legal Immigrants," while calling people born in the country "citizens." Under law, we say that a "Legal Immigrant" is exactly the same as a "Citizen," but we just call them something else. This has the effect of stigmatizing the Legal Immigrant, and even if by law they are the same, many people will view them as different, which is a problem.

Also, the clerical and legal challenges involved in updating the entirety of the legal code at Federal, State and Local levels would not be insignificant.

Comment Re:Derivative work (Score 1) 344

The FCC release new regulations regarding Closed Captioning last year. The rollout schedule is a bit confusing, but the basic gist is that any content that was broadcast over the air or cable/satellite with CCs must also have CCs when it is distributed over IP (e.g. Netflix, Amazon Instant, iTunes). I *think* that after 2015 or 2016, all content distributed over IP must have CCs.

Comment Re:Fuck 'em (Score 1) 344

Yes, but in many cases it is cheaper to buy an english only version of a movie than one with local subtitles. The MPAA want to preserve this charging of countries other than the US more money for the same crap.

Are you saying that content owners are charging more per unit in the non-English territories? I'm not aware of that being the case (though I'm on the B2B end of the business, so I'm not intimately familiar with consumer prices), other than cases where there is a supply and demand difference.

From the cost side, it does cost extra money to prepare content of international release (e.g. standards conversion, censorship editing, subtitling), but in the grand scheme of things, these costs are probably not material (i.e. less than $50k per title). When you start talking about dubbing, things get a lot more expensive.

The costs can be prohibitive for smaller markets. If you have a language with only a few million speakers, your content has to have a much wider appeal before it makes sense to distribute to that territory. You'll see Avengers translated to Swedish, but you're not likely to see a small budget film like Fun Size, especially if it failed at the US box office.

Comment Re:Fuck 'em (Score 1) 344

everything they write is purely commentary on the movie, which just happens to be able to sync up with the actual video/audio. The fact that the studios eventually offer a similar product for sale is neither here nor there -- they have no copyright claim over the subtitles.

How does transcribing dialogue from a movie, translating it, and publishing the result differ from translating a book and publishing the result?

Comment Re:Fuck 'em (Score 2) 344

contract with the fansubbers, and pay them for their work.

The post production company I work for contracts with a vendor whose business model is to originate closed captions by crowd sourcing. Basically you get paid per minute of video you transcribe via their web portal.

In fact, all of our subtitle translation work is done via contracting, so there is opportunity for fansubbers to get paid for their work.

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