No operator may use a launcher or receiver that is not equipped with a relief device capable of safely relieving pressure in the barrel before insertion or removal of scrapers or spheres. The operator must use a suitable device to indicate that pressure has been relieved in the barrel or must provide a means to prevent insertion or removal of scrapers or spheres if pressure has not been relieved in the barrel.
An easy lightweight blueprint-based asset to add subtitles to game sounds such as hits, gunfire, and gameplay important sound cues. Can be built upon and was made to be easily added to projects. The asset works off an object that is spawned in the world as an actor allowing greater versatility when spawning the SoundSubtitle Sphere the asset is built around. Replication is already supported if multiplayer is a concern.
- In videos containing foreign-language signs, subtitles that translate those signs can be positioned right beside them, which is more intuitive for viewers than a bunch of \"Sign in top left: ...\" subtitles at the bottom.
For plain subtitles, we thankfully have Amara with its YouTube integration, making it possible for creators to easily accept community contributions even now. For styled subtitles, however, captionists now have to ask the channel owner to upload the subtitles on their behalf. And channel owners may be slow to respond, may forget your request, or may simply not feel like manually uploading subtitles for 50 past videos one by one.
Some formatting can be done with Amara, and it will transfer to YouTube if the Amara subtitles are downloaded as DFXP: see Subtitle Options on Amara. Moreover, once you have the DFXP file, I suppose you can edit it offline to add other specifications, like coloring.
Thank you for your reply. Downloading a DFXP file from Amara would sadly pose the same problem as not using Amara's editor at all: in both cases, you're left with a file that you need to send to the channel owner for manual publishing in YouTube Studio. For plain subtitles, you can go through Amara's excellent YouTube integration (that is, publish the subtitles without the channel owner's intervention), but for styled subtitles, you can't, because most formatting is lost when Uploading them to Amara.
EDIT:Attach sphere collider to the player, when some other character enters player's sphere it would trigger showing subtitles.And you may want to syncronize subtitles with the speach = need some custom script attached to every character to get syncronized portions of text to use in subtitles UI.
Vertical text baseline for title and subtitle text. One of \"alphabetic\"(default), \"top\", \"middle\", \"bottom\", \"line-top\", or\"line-bottom\". The \"line-top\" and \"line-bottom\" values operate similarlyto \"top\" and \"bottom\", but are calculated relative to the lineHeightrather than fontSize alone.
Languages Available in: The download links above has Spheresubtitles in Arabic, Chinese Bg Code, Danish, Dutch, English, Estonian, Farsi Persian, Finnish, French, German, Greek, Icelandic, Indonesian, Italian, Korean, Norwegian, Portuguese, Romanian, Spanish, Swedish, Thai, Turkish, Vietnamese Languages.
The students watch the film as a low-res QuickTime movie while they edit a text file to enter the subtitles. Then, they go to the Media Lab and import their subtitle file into a computer that contains a high-resolution version of the movie. Davis explained that the low- and high-res versions of the films use the same time codes, which makes for easy synchronization. Working in a program called DVD Studio Pro, they can tweak the subtitles in the high-res versions.
Most of our translation team members are based in the country of the target language. Or they originate from there. They all provide nuanced and accurate video translation, video subtitles and film subtitles. In addition, our full-service video production and post-production company has amazing technicians. They are capable and experienced in every phase of the translation and subtitling production process. You'll receive expert high-quality film and video subtitling services.
Our experts have subtitled video and film for clients in just about every kind of arena. This is including education, business and corporate oriented subjects, medical videos, technical videos, TV ads, TV shows and major motion pictures. These film and video subtitling services clients have included:
To learn more about this subject, check out Wikipedia's info on their subtitle and captioning page. If you're looking for accurate translations with impeccably timed subtitles for your video or film subtitling project, give us a call at Ball Media Innovations!
In Heaven's Interpreters, Ashley Reed reveals how nineteenth-century American women writers transformed the public sphere by using the imaginative power of fiction to craft new models of religious identity and agency. Women writers of the antebellum period, Reed contends, embraced theological concepts to gain access to the literary sphere, challenging the notion that theological discourse was exclusively oppressive and served to deny women their own voice.
One senses that Lauren Berlant and Robert Detweiler would reachagreement on few topics. But they do have one thing in common: they have bothwritten books about something that no longer exists. The public sphere, bothinsist, has become an archaic concept in our postmodern though still nationalpresent tense. In support of this contention, Detweiler relies on thearguments and generalizations of other theorists, most notably Nancy Fraser,George Yudice, and Bruce Robbins. \"In other words,\" he writes insummary, \"the language of postbourgeois theory about the public realm isnot adequate to treat the complications of the relationship of literary (anddramatic and cinematic) fiction to public discourse, and my readings of thefiction, although borrowing from the theory, also expose its flaws\" (4).Berlant begins with a similar \"axiom,\" though one deduced from afar more diverse and wide-ranging set of sources: \"there is no publicsphere in the contemporary United States, no context of communication anddebate that makes ordinary citizens feel that they have a common publicculture, or influence on a state that holds itself accountable to theiropinions, critical or otherwise\" (3).
There is at least one sense in which this insight into thenonexistence of the public sphere--its \"phantom-ness,\" to use BruceRobbins's term--is old news. When Jurgen Habermas revitalized theconcept with the publication of The Structural Transformation of the PublicSphere in 1962, he took on critics of the Enlightenment ranging from EdmundBurke to Karl Marx, Walter Lippmann to Theodor Adorno. As indicated by itssubtitle (\"An Inquiry into a Category of Bourgeois Society\"),Habermas's historical reconstruction of the centrality of the categoryof the public sphere to both republican and democratic political theoryrelied on one fundamental insight: the public sphere always operated as bothan ideological concept capable of securing bourgeois hegemony and as anormative ideal enabling attacks on that hegemony. While Detweiler'sanalysis of religious themes and their public mediation in recent Americanfiction seems oddly innocent of this complication, Berlant places theparadoxical promise of the public sphere--its ability to \"liberate\"and \"oppress\"--at the center of her arguments concerning therelations between and among competing conceptions of sex and citizenship inthe United States today. It is this difference that makes Detweiler'sbook useful and perfunctory, while Berlant's is incisive andspectacular. Let me explain why.
Of the three terms that make up the subtitle of Uncivil Rites:American Fiction, Religion, and the Public Sphere, Detweiler places thegreatest emphasis on the first. This literary focus on American fiction atthe expense of either religion or the public sphere is revealed in thebook's structure. Written in response to an invitation by the Center forthe Study of Religion and American Culture, Uncivil Rites begins with a briefintroduction that establishes its three central terms: the \"bodypolitic,\" the \"body erotic,\" and the \"bodyapocalyptic.\" These \"bodies,\" Detweiler explains, \"can bethought of as locales of public discourse ... where urgent matters such asthe nurturing of a just state, responsibilities of reproduction, and theconditions for human survival are expressed\" (1). This opening gambit ispromising (despite the implicit equation of politics with state policy, anderotics with reproduction), yet an antispeculative tone quickly emerges.Rather than opting for either a historical overview or a theoretical accountof the interactions between fiction, religion, and the public realm,Detweiler chooses to provide close readings of selected texts which\"illuminate a variety of ways in which public spheres can be thought toexist and manifest themselves religiously.\" The history, he claims, hasbeen covered by others; theory, he fears, might \"inhibit theinterpretive potential of some fairly irascible novels\" (3).
If this table of contents looks a bit like a course syllabus(complete with fantasy guest lectures in the final week), there is goodreason for it. At times, Uncivil Rites reads like a semester-long lectureclass on religious themes in modern American culture, and its interpretationsare generally insightful. Were one asked to teach such a course, one could doworse than to begin preparing by consulting Detweiler's book. Yetproblems emerge when one starts to ask what these twelve texts tell us abouthow the public sphere mediates fictive and religious discourses in the UnitedStates today. To begin with, Detweiler allows the public sphere to remain aloosely theorized concept throughout Uncivil Rites. When he informs us, forexample, that the Roman Catholic Church is \"a massively influentialpublic sphere\" (137), he expands Habermas's analytic concept to thepoint where it operates as little more than a synonym for any powerfulinstitution that exists outside of the normative horizon of intimate life.When he suggests, at another point, that the authors he studies publish\"unique private stories that.... are absorbed and rendered definitive bythe group\"(213), he both relies on a very Habermasian conceit (the ideaof \"private\" individuals making their opinions \"public\"through acts of literary publication) and reduces the structural concept ofthe public sphere to the ideological goal of public opinion formation. If a\"group\" is the same as a \"public,\" then public-spheretheory is simply reception theory under a different guise. Suffice it to saythat any number of theorists and historians would disagree with theseassertions. 59ce067264