Is artificial intelligence poised to dismantle the SDH [subtitles for the deaf and hard of hearing] industry? While SDH remains the standard subtitle format across most platforms, the individuals behind it raise a valid concern as the sector, like many creative fields, faces increasing devaluation in the AI era. “SDH is an art; the industry often overlooks this. Many see it merely as transcription,” remarked Max Deryagin, chairman of Interface Activities, a nonprofit for freelance subtitlers and translators.
<p class="dcr-130mj7b">While AI promises to streamline subtitle creation, it misses the mark, according to Meredith Canela, a committee member. "There's a notion that AI tools mean we should work less. Yet, having spent 14-15 years in this field, I can attest that the time taken to complete projects has not changed significantly over the past five to six years."</p>
<p class="dcr-130mj7b">"Automatic transcription shows some positive advancements," Cannela adds. However, the overall efficiency does not represent a net gain compared to previous software, as extensive corrections are necessary.</p>
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<span class="dcr-1qvd3m6">"You can't overwhelm your audience"... Barbie's open caption screening for deaf and hard of hearing audiences in Westwood, California in 2023.</span> Photo: Allen J. Shaven/Los Angeles Times/Getty Images
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<p class="dcr-130mj7b">Moreover, the quality of AI-generated SDHs is often subpar, requiring significant effort to meet standards. Unfortunately, human subtitlers frequently find themselves taking on "quality control" roles with minimal compensation. Many in the field state that earning a sustainable income is currently a challenge.</p>
<p class="dcr-130mj7b">"The fees for SDH work were never great, but they've dropped to a point where it's hardly worth the effort," says Rachel Jones, an audiovisual translator and committee member. "This seriously undermines the value we provide."</p>
<p class="dcr-130mj7b">This value is crucial. "We're thrilled to welcome Teri Devine, associate director of inclusion at the Royal National Institute for Deaf and Deaf," a representative stated. “For those who are deaf or hard of hearing, subtitles are an essential service."</p>
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<blockquote class="dcr-zzndwp">The same sound can mean a million different things. As humans, we interpret how it should feel.</blockquote>
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<p class="dcr-130mj7b">Deaf and hard of hearing communities are diverse, meaning subtitles must accommodate various needs in crafting SDH. Jones explains, "While some believe that naming songs in subtitles is pointless, others might resonate with it because of the song's title."</p>
<p class="dcr-130mj7b">Subtitles involve numerous creative and emotion-driven choices—qualities AI currently lacks. When Jones first watches a show, she notes her emotional reactions to sounds and determines how best to express those in words. She then decides which sounds to subtitle and which may be excessive: "You can't overwhelm the audience," she points out. It's a delicate balancing act. "I want to avoid over-explaining everything to the viewers," Cannela adds.</p>
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<span class="dcr-1qvd3m6">"Algorithms cannot replicate the level of professional work."</span> Photo: Milan Sulkara/Arami
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<p class="dcr-130mj7b">AI struggles to discern which sounds are crucial. "It’s far from achieving that now," Deryagin notes, emphasizing the importance of understanding the broader context of a film rather than just individual images or scenes. For instance, in *Blow Out* (1981), a mysterious sound recurs, enhancing viewers' understanding of the main plot points. "SDH must create these connections rapidly without over-informing the audience initially," he explains. "The same sound can have countless meanings, and as a human, it’s my job to interpret those nuances."</p>
<p class="dcr-130mj7b">"You can't simply feed an algorithm a soundtrack and expect it to get it right. Providing metadata will not bridge the gap to professional quality."</p>
<p class="dcr-130mj7b">Netflix provided a glimpse into its "SDH process" following the subtitles for *Stranger Things*—for example, "[Eleven pants]" or "[Tentacles squelching wetly]"—in an <a href="https://www.netflix.com/tudum/articles/stranger-things-season-4-captions" data-link-name="in body link">interview with the subtitler</a>. The company chose not to comment further on AI in subtitle production. The BBC informed the *Guardian* that "we do not use AI for TV subtitles," though much of that work was outsourced to Redbee Media last year. <a href="https://www.redbeemedia.com/news/red-bee-medias-artificial-intelligence-captioning-workflows-bring-costs-down-for-network-10/" data-link-name="in body link">A statement was issued</a> regarding the use of AI for creating SDHs for the Australian Broadcasting Network 10.</p>
<p class="dcr-130mj7b">Jones notes that linguists and subtitlers aren't inherently opposed to AI, but at this juncture, it complicates rather than simplifies their work. "In every industry, AI tends to replace the creative aspects that bring us joy, rather than alleviating the tedious tasks that we’d rather avoid," she concludes.</p>Source: www.theguardian.com
