A fansub (short for fan-subtitled) is a version of a foreign film or foreign television program, typically anime or dorama which has be translated by fans (as opposed to an officially licsed translation done by paid professionals) and subtitled into a language usually other than that of the original.
The practice of making fansubs is called fansubbing and is done by a fansubber. Fansubbers typically form groups to divide the work. The first distribution media of fansubbed material was VHS and Betamax tapes.
Early fansubs were produced using analog video editing equipmt. First, a copy of the original source material or raw was obtained, most commonly from a commercial laserdisc. VHS tapes or ev a homemade recording could be used as well but would produce a lower quality finished product. The dialogue was th translated into a script that was th timed to match the dialogue and typeset for appearance. The two most popular programs used in the process were JACOsub for the Amiga and Substation Alpha for Microsoft Windows.
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The next step was to produce one or more masters, a high-quality copy of the finished fansub from which many distribution copies could be made. The fansubber would playback the raw video through a computer equipped with a glock in order to gerate the subtitles and th overlay them on the raw signal. The hardware most oft used was an Amiga computer, as most professional glocks were prohibitively expsive. The final output of the arrangemt was th recorded. The master was most oft recorded onto S-VHS tape in an attempt to maximize quality, though some fansubbers used the less expsive VHS or Beta. Once it was completed, the master copy was st to a distributor.
The production of a fansub typically begins with obtaining the unsubtitled source video called a raw that typically comes from DVDs, VHS tapes, television broadcasts, peer-to-peer networks, and directly from Japanese-based contacts. Th, a translator watches the video and produces a time-stamped text file of the screplay with any relevant notes.
The same series or episode may be subtitled by multiple groups with indepdt translations of varying quality. Fansub groups sometimes translate other already translated fansubs that are more susceptible to errors.
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Translated text is assigned with start and d times in a process known as timing to sure subtitles appear wh dialogue is spok and disappear with the silce.
An editor and a translation-checker read over the script to sure that glish is natural and cohert while still retaining the original meaning. A typesetter th appearance for the dialogue, signs, translator notes, etc.
Coders th take the script file and create a single subtitled video file, oft aiming for a target file size or video quality. Hard subtitles, or hard subs, are coded into the footage, and thus become hard to remove from the video without losing video quality. Soft subtitles, or soft subs, are subtitles applied at playback time from a subtitle datafile, either mixed directly into the video file (.mkv, .ogm, etc.), or in a separate file (.ssa, .srt, etc.). Soft subs can also be rdered at higher resolutions, which can make for easier reading if the viewer is upscaling the file, but also are more difficult to bld into the video (for instance rotated text/moving text). Hard subs have traditionally be more popular than softsubs, due to a lack of player support and worries over plagiarism, but most fansub groups now release a softsub version of their releases.
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The resulting fansub is a digital video file and can be distributed via CD, DVD, DDL, P2P software, and by file-sharing bots on IRC and also FTP.
The distribution is usually handled by a distribution team, or distro team, composed of one or more individuals with a server or very high upload speed.
The first documted Japanese animation to be distributed in the United States was The Tale of the White Serpt airing on March 15, 1961. Until the late 1970s, Japanese community TV stations' broadcasts were aimed exclusive at very young childr. Soon after the release video cassette recorders in November 1975, post-Astro Boy anime began to spread throughout the United States. By March 1976, TV stations in the United States began broadcasting super robot shows such as Getter Robo, and due to the availability of VCRs, fans could record these shows to show to their frids. Fred Patt describes his first exposure to anime at the Los Angeles Scice Fiction Society (LASFS) in 1976 wh he met up with another fan who was an early adopter of Sony's betamax technology. By May 1977 he and a group of fans founded the first anime club in the United States, the Cartoon/Fantasy Organization (C/FO).
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In November 1977, the C/FO began corresponding with other Japanese animation fans across the country and because the distribution of shows across the United States was differt based on location, fans began trading tapes of shows they were missing betwe each other. At the time many LASFS members maintained contact with members around the world, and thus C/FO members began exchanging videos with fans located in Japan, typically US military personnel, who wanted Star Trek and Battlestar Galactica. Fortunately, shows from either the United States or Japan could be played in either region as both used the NTSC format for broadcast. These shows were not translated; however, Japanese animations remained simple ough that the average viewer could discern the plot exclusively from the visuals. By 1979, fans and clubs of Japanese animation had begun to separate from the scice fiction movemt and began to refer to the media they watched as anime.
Throughout this period it was considered socially acceptable to scre anime for an audice without const as few companies had American offices, and of the few that did, the answer was invariably no. Japanese companies made it appart that they knew fans in the United States gaged in unauthorized distribution and screing, however knew that fans were not profiting. Japanese companies asked fans to help them publicize, for instance, Toei Animation asked the C/FO to aid it with some marketing research at San Diego Comic-Con. Starting in 1978, Japanese companies tried to set up their own American divisions; however, with the exception of the film The Sea Prince and the Fire Child which was licsed to RCA/Columbia Pictures Home Video, they realized they were not going to succeed in the American market and the last American anime company branch closed in 1982.
After anime companies pulled out of the United States in 1982, there were no longer any legal or moral forces to discourage fans from copying and distributing tapes among themselves. From the late 1970s until the late 1980s, clubs began expanding to have chapters in other cities and grew to become of national and international scales. As the fandom grew, fans begun to experice ideological conflicts such as whether to keep the fandom niche or not. The visual quality of tapes began to degrade as fans made copies of copies; by the early 1980s some C/FO members reported tapes in their 15th to 20th geration that were extremely poor quality. In the mid to late 1980s, fans began to make booklets containing the translated dialogue for tire films (typically $2–3 to cover costs) and anime-focused magazines.
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Despite numerous attempts, any efforts to convince US companies to licse Japanese animation fail with the exception of a handful of companies that were intt on carving up any series rewriting them into kiddy cartoons. Sean Leonard states that tertainmt executives at the time mistakly assumed thought that anime were cartoons, therefore must be marketed at young childr; furthermore Japanese animated dramas and such were much too violt and complex in plot for childr. Leonard states that the most notorious example was the translation of Warriors of the Wind released in the US in 1985 that left its creators Hayao Miyazaki and Isao Takahata appalled; Takahata exclaimed licsing Nausicaä was a huge error and no further Studio Ghibli produced films would be licsed internationally. These edits however were no worse than most other non-Disney animation films that were available in the US. Fans who obtained the Japanese originals of Nausicaä were inspired to organize an anime tour to Tokyo in 1986 to see Miyazaki's Laputa: Castle in the Sky and landmarks in anime.
Carl Macek played a key role in creating a pivotal wave of anime fans. Macek ran a comic book and movie memorabilia specialty shop. After assisting in marketing and promotion of Heavy Metal and the rect establishmt of a nearby C/FO chapter, he began researching Japanese animation and imported Japanese cels becoming known as a Japanese animation specialist. Harmony Gold th contacted him as they had acquired international licses for several series, were planning on distributing in Latin America, Europe, and the US, and listed his help for the US market. After Macek noticed their selection of Macross and similar scice fiction series, Macek obtained Harmony Gold's approval to release an anime if he could edit three series together into what they named, Robotech. Macek wt to scice fiction convtions to promote
The resulting fansub is a digital video file and can be distributed via CD, DVD, DDL, P2P software, and by file-sharing bots on IRC and also FTP.
The distribution is usually handled by a distribution team, or distro team, composed of one or more individuals with a server or very high upload speed.
The first documted Japanese animation to be distributed in the United States was The Tale of the White Serpt airing on March 15, 1961. Until the late 1970s, Japanese community TV stations' broadcasts were aimed exclusive at very young childr. Soon after the release video cassette recorders in November 1975, post-Astro Boy anime began to spread throughout the United States. By March 1976, TV stations in the United States began broadcasting super robot shows such as Getter Robo, and due to the availability of VCRs, fans could record these shows to show to their frids. Fred Patt describes his first exposure to anime at the Los Angeles Scice Fiction Society (LASFS) in 1976 wh he met up with another fan who was an early adopter of Sony's betamax technology. By May 1977 he and a group of fans founded the first anime club in the United States, the Cartoon/Fantasy Organization (C/FO).
Oploverz Logo, Symbol, Meaning, History, Png, Brand
In November 1977, the C/FO began corresponding with other Japanese animation fans across the country and because the distribution of shows across the United States was differt based on location, fans began trading tapes of shows they were missing betwe each other. At the time many LASFS members maintained contact with members around the world, and thus C/FO members began exchanging videos with fans located in Japan, typically US military personnel, who wanted Star Trek and Battlestar Galactica. Fortunately, shows from either the United States or Japan could be played in either region as both used the NTSC format for broadcast. These shows were not translated; however, Japanese animations remained simple ough that the average viewer could discern the plot exclusively from the visuals. By 1979, fans and clubs of Japanese animation had begun to separate from the scice fiction movemt and began to refer to the media they watched as anime.
Throughout this period it was considered socially acceptable to scre anime for an audice without const as few companies had American offices, and of the few that did, the answer was invariably no. Japanese companies made it appart that they knew fans in the United States gaged in unauthorized distribution and screing, however knew that fans were not profiting. Japanese companies asked fans to help them publicize, for instance, Toei Animation asked the C/FO to aid it with some marketing research at San Diego Comic-Con. Starting in 1978, Japanese companies tried to set up their own American divisions; however, with the exception of the film The Sea Prince and the Fire Child which was licsed to RCA/Columbia Pictures Home Video, they realized they were not going to succeed in the American market and the last American anime company branch closed in 1982.
After anime companies pulled out of the United States in 1982, there were no longer any legal or moral forces to discourage fans from copying and distributing tapes among themselves. From the late 1970s until the late 1980s, clubs began expanding to have chapters in other cities and grew to become of national and international scales. As the fandom grew, fans begun to experice ideological conflicts such as whether to keep the fandom niche or not. The visual quality of tapes began to degrade as fans made copies of copies; by the early 1980s some C/FO members reported tapes in their 15th to 20th geration that were extremely poor quality. In the mid to late 1980s, fans began to make booklets containing the translated dialogue for tire films (typically $2–3 to cover costs) and anime-focused magazines.
Learn Japanese With Anime: 9 Addictive Shows To Start With
Despite numerous attempts, any efforts to convince US companies to licse Japanese animation fail with the exception of a handful of companies that were intt on carving up any series rewriting them into kiddy cartoons. Sean Leonard states that tertainmt executives at the time mistakly assumed thought that anime were cartoons, therefore must be marketed at young childr; furthermore Japanese animated dramas and such were much too violt and complex in plot for childr. Leonard states that the most notorious example was the translation of Warriors of the Wind released in the US in 1985 that left its creators Hayao Miyazaki and Isao Takahata appalled; Takahata exclaimed licsing Nausicaä was a huge error and no further Studio Ghibli produced films would be licsed internationally. These edits however were no worse than most other non-Disney animation films that were available in the US. Fans who obtained the Japanese originals of Nausicaä were inspired to organize an anime tour to Tokyo in 1986 to see Miyazaki's Laputa: Castle in the Sky and landmarks in anime.
Carl Macek played a key role in creating a pivotal wave of anime fans. Macek ran a comic book and movie memorabilia specialty shop. After assisting in marketing and promotion of Heavy Metal and the rect establishmt of a nearby C/FO chapter, he began researching Japanese animation and imported Japanese cels becoming known as a Japanese animation specialist. Harmony Gold th contacted him as they had acquired international licses for several series, were planning on distributing in Latin America, Europe, and the US, and listed his help for the US market. After Macek noticed their selection of Macross and similar scice fiction series, Macek obtained Harmony Gold's approval to release an anime if he could edit three series together into what they named, Robotech. Macek wt to scice fiction convtions to promote
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