Understandably, the creators wanted to share as much of Alice’s history as possible within the time available, and the story is fascinating. The other unfortunate directorial choice made is the pace of the overall contents. Accessibility to the French audio is therefore very poor through the subtitling. Also, the reading speed required for the longer excerpts is too high given the font and form. The worst practice is when the text was deemed worthy to highlight, it is often presented in a cursive font in paragraph form across the width of the screen, making it difficult to read, particularly as there is a great deal of figured background used.
Subtitle edit pro increases file size full#
Also, the subtitles are full of bad line breaks and inconsistencies. In fact, there are no captions at all for the film because of the overcrowded shots, so right off the bat the film is not available to Deaf, deaf, or hard of hearing viewers, or any other group who uses captions.
I wish I could have acted as a consultant for them on the function and form of effective captions and subtitles. The viewer must be resigned to picking and choosing what information they want to take in, which is a shame because it’s quite interesting.
Subtitle edit pro increases file size plus#
There are some interesting ideas for indicating sources-for example, audio tape via a little icon in the corner of the screen-but often these are more cute than necessary, adding clutter to a busy screen I found it hard to watch such indicators, plus maps, dynamic travel routes, superimposed pictures and image captions, and subtitles. The music is far too loud and drowns out other elements, making it hard to follow the extremely fast pace of the doc. The final product is less than accessible to several groups of people. As a backer, I got to see teasers and contacted the production company about issues with the subtitling as it stood then I did not get a reply. However, direction by Green is problematic. Robert Redford and narrator Jodie Foster are listed as two of the executive producers, which gives it some cachet, I expect. I’d like to share some thoughts on this film because I’ve yet to see a review online that wasn’t bursting at the seams with enthusiasm, and I think some balance in its reception is merited. Then I learned more about the premise of Alice being “discovered” by the filmmakers. This was mostly due to its inaccessibility but also its overall direction. However, when I finally got to see it at one of only three Toronto screenings, I was underwhelmed.
They’ve brought a major project to fruition.
It seems creators Pamela Green and Jarik van Sluijs had more success in the campaign and developments with the film than they had anticipated. There have been some bumps in the road for supporters, which is to be expected for a passion project, I suppose: some of the perks never arrived, some were disappointing, and some have yet to arrive (promised post–home video release). Six years ago, I made a pledge to a Kickstarter campaign for the documentary Be Natural. She wanted her actors to remember this guideline in order to avoid the overacting so common in films during the silent era. The sign at Alice Guy-Blaché’s Solax Studio in the US. Review of Be Natural: The Untold Story of Alice Guy-Blaché (2018)
0 kommentar(er)
