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Italian Timed Text Style Guide

This document covers the language specific requirements for Italian. Please make sure to also review the General Requirements section and related guidelines for comprehensive instructions surrounding timed text deliveries to Netflix.

I. Italian subtitles

I.1. Abbreviations

  • a.C. - avanti Cristo
  • cm - centimetro
  • d.C. - dopo Cristo
  • dott. - Dottore ("dr." can also be used to meet reading speed requirements)
  • dott.ssa - Dottoressa ("dr.ssa" can also be used to meet reading speed requirements)
  • ecc. - eccetera
  • g - grammo
  • h - ore
  • ing. - ingegnere
  • kg - chilogrammo
  • km - chilometro
  • kmq - chilometro quadrato (please avoid “km²” or “km2”)
  • l - litro
  • m - metro
  • mq - metro quadrato (please avoid “m²” or “m2”)
  • sig. - signore
  • sigg. - signori
  • sig.ra - signora
  • sig.na - signorina
  • spett. - spettabile
  • TV - televisione

I.2. Acronyms

  • Acronyms should be written without periods between letters: BBC, CIA, USA

I.3. Character Limitation

  • 42 characters per line

I.4. Character Names

  • Do not translate proper names (e.g. Peter, Suzanne), unless Netflix provides approved translations.
  • Nicknames should only be translated if they convey a specific meaning.
  • Use language-specific translations for historical/mythical characters (e.g. Santa Claus).
  • Transliterate uncommon or unfamiliar letters/characters which appear in names or proper nouns when working from a Roman alphabet language into Italian if they may cause confusion or be hard to understand or pronounce. Note that diacritics should be kept in proper nouns and names. For example: If the Icelandic name Þór appears, please transliterate as Thór (following relevant KNP and guidance about handling character names). If a German street name such as Torstraße appears in the source, please transliterate as Torstrasse (following relevant KNP and guidance about handling character names).

I.5. Continuity

  • When including ellipses in subtitles, please use the single smart character (U+2026) as opposed to three dots/periods in a row.
  • Do not use ellipses or dashes when an ongoing sentence is split between two or more continuous subtitles.

Subtitle 1   Ero sicuro
Subtitle 2   che avresti capito.

  • Use ellipses to indicate a pause (2 seconds or more) or an abrupt interruption. In the case of a pause (2 seconds or more), if the sentence continues in the next subtitle, do not use ellipsis at the beginning of the second subtitle.

Subtitle 1   Ero sicuro…
Subtitle 2   che avresti capito.

Subtitle 1   - Stavo per dirti…
Subtitle 2   - Non voglio sentirlo!

  • Consider using ellipses in subtitle events with just one word even if the pause is shorter than 2 seconds. For example:

Subtitle 1   È…
Subtitle 2  un vero peccato.

  • Consider using ellipses in subtitle events with an ungrammatical break even if the pause is shorter than 2 seconds. For example:

Subtitle 1   Ti ho…

Subtitle 2   svegliato?

  • Use an ellipsis at the beginning of a subtitle when a speaker finishes a sentence after being interrupted by another speaker. For example:

(speaker 1) Subtitle 1   Stavo per dirti…

(speaker 2) Subtitle 2   Non ti sento!

(speaker 1) Subtitle 3   …che domani parto.

  • Use ellipses without a space to indicate that a subtitle is starting mid-sentence

…troppo da queste parti.

  • Use ellipses without a space to indicate a truncated word, e.g. when profanity is intentionally “censored” in the source.

      • …zzo!

        Vaff…

I.6. Documentary/Unscripted

  • Speaker's title: only translate the title. Do not include the speaker's name, company name or character name as these are redundant.
  • Only translate a speaker's title once, the first time the speaker appears.
  • When ongoing dialogue is interrupted by a speaker’s title, use ellipses at the end of the sentence in the subtitle that precedes it and at the beginning of the sentence in the subtitle that follows it.

Subtitle 1   Ha lavorato a questo film…

Subtitle 2 (FN)      REGISTA

Subtitle 3  …per sei mesi.

  • Dialogue in TV/movie clips should only be subtitled if plot-pertinent and if the rights have been granted.
  • News tickers/banners from archive clips do not require subtitles unless plot-pertinent.
  • Avoid going back and forth between italicized and non-italicized subtitles when the speaker is on and off screen. If the speaker is on-camera for at least part of the scene, do not italicize. Leave italics for off-screen narrators.

I.7. Dual Speakers

  • Use a hyphen followed by a space to indicate two speakers in one subtitle, with a maximum of one speaker per line.
  • Text in each line in a dual speaker subtitle must be a contained sentence and should not carry into the preceding or subsequent subtitle. Creating shorter sentences and timing appropriately helps to accommodate this.

- Arrivi?

- Tra un minuto.

I.8. Font Information

  • Font style: Arial as a generic placeholder for proportional SansSerif
  • Font size: Relative to video resolution and ability to fit 42 characters across screen
  • Font color: White 

I.9. On-screen Text

  • Forced narrative titles for on-screen text should only be included if plot-pertinent.
  • When on-screen text and dialogue overlap, precedence should be given to the most plot-pertinent message. Avoid over truncating or severely reducing reading speed in order to include both dialogue and on-screen text.
  • The duration of the FN subtitle should as much as possible mimic the duration of the on-screen text, except for cases where reading speed and/or surrounding dialogue takes precedence.
  • Redundant forced narratives must be deleted/avoided, for example:
    • The on-screen text is identical in both source and target language (e.g. a sign reading “stop”)
    • The on-screen text is covered in the dialogue (e.g. a character reading a text message or letter)
    • The meaning of on-screen text is clear due to the visual context (e.g. a forced narrative translating “restaurant” when the action unequivocally takes place inside a restaurant)
  • Forced narratives for on-screen text should be in ALL CAPS, except for long passages of on screen text (e.g. prologue or epilogue), which should use sentence case to improve readability.
  • Never combine a forced narrative with dialogue in the same subtitle.
  • When a forced narrative interrupts dialogue, use an ellipsis at the end of the sentence in the subtitle that precedes it and at the beginning of the sentence in the subtitle that follows it.

Subtitle 1         Credo che non dovremmo…

Subtitle 2 (FN)  DIVIETO DI ACCESSO

Subtitle 3        …procedere oltre.

  • Avoid italics in forced narratives. For film or show titles, use quotation marks:
    • DALLA REGISTA DI “LEZIONI DI PIANO”

I.10. Foreign Dialogue

  • Foreign dialogue should only be translated if the viewer was meant to understand it (i.e. if it was subtitled in the original version).
  • When using foreign words, always verify spelling, accents and punctuation, if applicable.
  • Foreign words should be italicized, unless they have become part of regular usage (e.g. computer, monitor, manager, part time, smartphone, meeting) and unless they are proper names (e.g. a company name). 

I.11. Italics

  • Italicize the following:
    • Album, book, film and program titles (use quotes for song titles)
    • Foreign words (unless they listed in Treccani's Vocabulary, words listed as neologisms also do not need to be italicized)
    • Dialogue that is heard through electronic media (e.g. phone, device, television, computer, loudspeaker, AI, AI assistants, voice of a GPS, other digital devices, etc.) if the speaker is not physically present in the scene. For instance, if a character speaks into a microphone and their voice is heard through a loudspeaker but they are physically present, italics are not needed. Use good judgement when applying italics, ensuring there is consistency throughout the film or series
    • Synthetic voices (unless they can be considered characters, e.g. a talking robot)
    • Only use italics when a speaker is not in the scene(s), not merely off screen or off camera
    • Song lyrics (if rights have been granted)
    • Voice-overs
  • Do not italicize the following:
    • Proper names of ships, aircrafts, trains or other means of transport
    • Dialogue in establishing shots (when the shot shows the outside of a building or location and a speaker is heard moments before they are shown, do not italicize those lines)
    • Specific words for emphasis
    • In trailers and other supplemental content, use italics exclusively for off-screen narrators. Off-screen dialogue does not need to be italicized.

I.12. Line Treatment

  • Maximum two lines.
  • Text should usually be kept to one line, unless it exceeds the character limitation.
  • Prefer a bottom-heavy pyramid shape for subtitles when multiple line break options present themselves, but avoid having just one or two words on the top line.

I.13. Numbers

  • From 1 to 10, numbers should be written out: uno, due, tre, etc.
  • Above 10, numbers should be written numerically: 11, 12, 13, etc.
  • When a number begins a sentence, it should always be spelled out.
  • Note that the above rules may be broken due to space limitations or reading speed concerns, as well as for consistency when listing multiple quantities, for example.
  • Measurements should be converted to the metric system, unless the original unit of measurement is plot relevant.
  • When writing times of day using numerals, avoid “AM” and “PM”. Please use the 24-hour system, separating hours and minutes with a colon (e.g. 12:30, 23:45, 0:01). For hours 1-9, do not use a leading zero (e.g. 1:10, 9:15). When stating hours on the clock, minutes can be left out if it helps with reading speed requirements (e.g. alle 17).
  • Only add a separator to numbers with five digits and above (e.g. 12.345).
  • For currency, follow the rules above and spell out the name of the currency (e.g. tre rupie, 11 dollari, 1234 yen, 12.345 euro). When dealing with space limitations or reading speed concerns, the currency symbol may be used, separated by a space, with numbers above 10 (e.g. 11 $, 1234 ¥, 12.345 €).

I.14. Quotations

  • Double quotation marks (" ") without spaces.

             Loro vennero da me e dissero: "Tu ovviamente non sai niente".

  • Single quotation marks (' ') for quotes within quotes.

Ha detto: "'Singing in the Rain' è la mia canzone preferita".

  • Use quotation marks at the start of the quotation and after the last line of the quotation, marking the beginning and end of the quotation (rather than the beginning and end of every subtitle within the quotation).
  • Closing quotes follow the period if the whole sentence is within quotes.

"Sono molto fiero di noi."

  • Closing quotes precede the period if only part of the sentence is within quotes.

Disse: "Sono molto fiero di noi".

Disse: "Sono molto fiero di noi. Davvero".

  • Apply the same conventions even when a quote is split between multiple subtitling events.

Subtitle 1 "Sono molto fiero di noi.

Subtitle 2 Abbiamo fatto davvero un bel lavoro.”

Subtitle 1 Ha detto: "'Singing in the Rain'

Subtitle 2 è la mia canzone preferita".

  • Closing quotes follow exclamation and question marks.

"Sono felicissima!"

"Hai visto?"

Come disse Romeo:
“Ha forse mai amato, sinora, il mio cuore?”

  • However, question marks and exclamation marks follow quotation marks if they are not part of the quotation:

Ti ha detto in faccia: “È tutta colpa tua”?

  • Song titles should be in quotes.
  • Use quotation marks when a character is seen to be reading aloud.
  • If an on-screen character does “air quotes” when speaking, please apply quotation marks to the equivalent word in the target language in order to retain creative intent and to help ensure clarity about which word or part of the sentence the air quotes apply to.

I.15. Reading Speed Limits

  • Adult programs: Up to 17 characters per second
  • Children’s programs: Up to 13 characters per second

I.16. Repetitions

  • Do not translate words or phrases repeated more than once by the same speaker. 
  • If the repeated word or phrase is said twice in a row, time subtitle to the audio, but translate only once.

I.17. Songs

  • Only subtitle plot-pertinent songs if the rights have been granted.
  • Opening and ending theme songs should only be subtitled if clearly plot-pertinent (e.g. for children’s content when the lyrics tell a story) or if instructed by Netflix. Normally, adult programs should not have the opening songs subtitled, except for SDH.
  • Italicize lyrics.
  • Album titles should be in italics.
  • Song titles should be in quotation marks.
  • Use an uppercase letter at the beginning of each line.
  • Use ellipses when a song continues in the background but is no longer subtitled to give precedence to dialogue.
  • Punctuation: only question marks and exclamation marks should be used at the end of a line – no commas or periods. Commas can be used within the lyric line, if necessary.
  • Follow this approach for poetry also, making exceptions for capitalization and punctuation where necessary:

Così tra questa
immensità s'annega il pensier mio:
e il naufragar m'è dolce in questo mare.

I.18. Titles

  • Main titles: Subtitle the on-screen main title for branded content when the approved title for Italian is available in KNP/Terminology and it does not match the title which appears in the card. Do not translate the main title from scratch: always use the approved title provided.
  • Do not subtitle when the on-screen main title and the approved title for Italian are identical and fully match. (e.g. the on-screen title is already in Italian, both read with the exact same words and spellings, etc.)
  • Subtitle when the approved title for Italian contains a part that is transliterated/translated/transcreated/edited and does not fully match the on-screen main title. (e.g. when the on-screen title is Rising Phoenix but the approved title for Italian is Rising Phoenix: la storia delle Paralimpiadi)
  • When the provided translation of the main title does not work with a line break in a way that fits within the limit, the maximum character count per line or maximum line limit can be exceeded. Do not split the provided translation into multiple subtitle events.
  • Do not italicize the main title event.
  • Episode titles: do not subtitle episode titles if they do not appear on screen/are not voiced-over. If on-screen (either as part of the principal photography or burned into video) or voiced-over, please reference the KNP tool for approved translations.
  • Titles of published works, existing movies and TV shows: use official or well-known translations. If none are available, leave titles in the original language.

I.19. Special Instructions

  • Dialogue must never be censored. Expletives should be rendered as faithfully as possible.
  • Plot-pertinent dialogue always takes precedence over background dialogue.
  • Always match the tone of the original content, while remaining relevant to the target audience (e.g. replicate tone, register, class, formality, etc. in the target language in an equivalent way).
  • Deliberate misspellings and mispronunciations should not be reproduced in the translation unless plot-pertinent.
  • Use Beh, not Be', Mah, not Ma'.
  • Use Ok/ok, not OK or Okay.
  • When brand names or trademarks appear, you may either; use the same name if it is known in the territory you are translating for; adapt to the name that the brand or product is known by that the territory you are translating for; or use a generic name for that product or item. Avoid swapping out names of brands, companies or famous people for other names.
  • Refrain from using double punctuation, e.g. …! …? !? etc.

I.20. References

For all language-related issues not covered in this document, please refer to: L'enciclopedia italiana

Dictionary: http://www.treccani.it/vocabolario/

Grammar: http://www.treccani.it/enciclopedia/elenco-opere/La_grammatica_italiana

 

 

II. Italian SDH

For Italian SDH, please follow the linguistic and stylistic points in the section above, as well as the following SDH-specific guidelines.

II.1. Transcription, editing and readability

  • Include as much of the original content as possible, taking into consideration overall readability.
  • Truncating the original dialogue should be limited to instances where reading speed and synchronicity to the audio are an issue. Non-verbal elements (e.g. “oh”, “ah”, “ehm”, etc.) and filler words (e.g. “allora”, “sai”, “ecco”, etc.) should be omitted when resulting in reading speed violations. In case of repeated exclamations, please use your best judgment to reformulate or condense to avoid reading speed violations.
  • Do not simplify or water down the original dialogue.
  • Where content has been dubbed into Italian, please refer to the dubbing script or dubbed audio as the basis for the SDH file and ensure that the two match as much as reading speed and timings allow.
  • Reading speed limits can be increased to:
    • Adult programs: Up to 20 characters per second
    • Children’s programs: Up to 17 characters per second
  • For TV/movie clips, all audible lines should be transcribed, if possible. If the audio interferes with dialogue, please give precedence to most plot-pertinent content.

II.2. Songs, music and sound effects

  • When possible and plot-relevant, formulate sound descriptors clarifying whether the music is diegetic (sound emanating from sources within the fictional world and heard by the characters) or extra-diegetic (sound is not heard by characters, doesn't originate from within their world, and is only for the benefit of the audience).
  • Shot of musician playing piano (diegetic music):

[melodia malinconica]

  • Any other scenario in which a musician or an instrument is not seen (extra-diegetic music):

[melodia malinconica di pianoforte]

  • All same-language audible songs that do not interfere with dialogue should be subtitled, if the rights have been granted.
  • Use song title identifiers when applicable - song titles should be in quotation marks, followed by the artist's name.
  • For Italian song titles, only capitalize the first word and proper nouns. When possible, add information to establish whether the music is diegetic or extradiegetic.

["Leoni" di Francesca Michielin

feat. Giorgio Poi]

 

["E la chiamano estate"

     di Bruno Martino]

 

[Anthony suona "Estate" di Bruno Martino]

  • Song lyrics should be enclosed with a music note (♪) at the beginning and end of each subtitle. Capitalize the first word of every line.

♪ Stammi vicino e tienimi lontano ♪

 

♪ Ti si riempiono gli occhi

Con le onde del mare ♪

 

[uomo al megafono] ♪ Mi innamorai di te ♪

 

[radio] ♪ Qui dove il mare luccica ♪

 

- [Sandro] Ma voi dovete sempre rompere…

- [tutti] ♪ Ma tanto tanto bene, sai ♪

  • Add a space between the music note and the preceding or subsequent text.
  • When a dual speaker subtitle appears in a song, e.g. when there is a duet, each line of sung text should have a music note at the beginning and end to clearly indicate that both characters are singing.
  • Use brackets [ ] to enclose speaker IDs and sound effects.
  • Identifiers/sound effects should be all lowercase, except for proper nouns.

[rombo sovrasta la musica]

[Klara sospira]

  • Only use speaker IDs or sound effects when they cannot be visually identified.

[applausi in lontananza]

[versi di cicale e gabbiani]

[uomo esita] Va meglio?

  • When a speaker ID is required for a character who has yet to be identified by name or role, use [uomo] or [donna], or [voce maschile] or [voce femminile], so as not to provide information that is not yet present in the narrative.
  • Use a generic ID to indicate and describe ambient music, e.g. [musica rock dallo stereo]
  • Avoid generic non-descriptive information such as [tema musicale della serie]
  • Sound effects should be plot-pertinent.

[grida tra la folla]

[scrocchiare di ossa]

  • Where possible, avoid words such as "rumore" or "suono" in sound descriptions as this is implied by the use of brackets. For example, use [passi sulle foglie] instead of [rumore di passi sulle foglie].

II.3. Formatting and special instructions

  • Sound effects that interrupt dialogue should be treated as follows. If necessary, sound effects can be on the same line as dialogue:

          Subtitle 1:     Ho scoperto che…

                                [singhiozza]

          Subtitle 2:     …mi manchi.

  • Never italicize speaker IDs or sound effects, even when the spoken information is italicized, such as in a voice-over:

[Eva] Ore, centinaia,

migliaia di ore a non fare niente.

 

[telecronista] …due a zero per i padroni

di casa che hanno sbloccato il risultato

  • In instances of foreign dialogue being spoken:
    • If foreign dialogue is translated, use [in lingua], for example [in francese] followed by the translation
    • If foreign dialogue is not meant to be understood, use [parla in lingua], for example [parla in francese]
    • Always research the language being spoken – [in lingua straniera] should never be used
  • In cases where a regional dialect or a non-standard variety of Italian is used:
    • Please translate into standard Italian unless title-specific instructions have been given.
    • Ensure the tone and register of the original is preserved.
    • Please add a language label, e.g. [in romanesco]. If the character(s) speak(s) with an accent or in a regional dialect consistently, add a label once at the beginning of their first line in the film/episode; if they switch between dialect and standard Italian, use the label at the beginning of each scene. For example:

[con accento sardo] Sì, sta male Cesare. Curando si sta.

[Felice in napoletano] Ti avevo detto che vincevo!

 

Change Log:

2024-12-20

  • Extensive SDH edits made:
    • TTSG now split into section I. Italian subtitles and II. Italian SDH. Sections renumbered accordingly
    • New SDH section, topics and examples added under section II. Please review closely

2024-10-07

  • Revised section 11 Italics - 4th bullet edited to new standard wording about italics, electronic media/speakers and on-screen/in-scene characters

2024-04-05

  • Revised section 1 Abbreviations - rules around the use of abbreviations for dottore/dottoressa have been adapted
  • Revised section 5 Continuity - bullets 4, 5 and 6 added with new examples
  • Revised section 9 On-screen text - clearer rules about redundant forced narratives added with examples in 4th bullet, final bullet added covering titles in FNs
  • Revised section 11 Italics - section revised to include examples of what not to italicize, please review whole section closely
  • Revised section 13 Numbers - 6th bullet expanded to cover hours of time, 7th and 8th bullet added
  • Revised section 14 Quotes - "cosí" in examples has been replaced with "molto", 8th bullet added, examples tweaked
  • Revised section 17 Songs - final bullet expanded with example
  • Revised section 19 Special Instructions - final bullet added about double punctuation
  • Revised section 20 SDH Guidelines - bullet added covering use of words like "rumore" and "suono" in SDH, final bullet added covering dialect and accents

2022-12-22

  • Revised sections 15 Reading Speed and 20 SDH - sections edited to mention "reading speed limits" and "up to"

2022-11-03

  • Revised section 18 Titles - "for branded content" added

2022-10-07

  • Revised section 18 Titles - rules added/edited to include main title translations
  • Revised section 20 SDH Guidelines - example lyrics italicized as per rules

2021-10-22

  • Revised section 4 Character names - 4th bullet point added regarding transliteration of unfamiliar characters in proper nouns/names
  • Revised section 14 Quotation marks - 3rd bullet point rephrased for clarity

2021-07-11

2021-02-24

  • Revised section 20 SDH Guidelines - localized examples added and other areas expanded

2020-10-30

2020-07-24

  • Revised section 1 Abbreviations - new list added
  • Revised section 5 Continuity - 1st bullet added clarifying type of ellipsis permitted
  • Revised section 13 Numbers - 6th bullet added regarding time
  • Revised section 20 SDH Guidelines - 3rd bullet reworded

2020-05-08

2019-08-20

  • Revised section 1 Abbreviations - capitalization revised for clarity
  • Revised section 5 Continuity - 2nd bullet point edited
  • Revised section 10 Foreign Dialogue - examples in 3rd bullet point revised
  • Revised section 14 Quotes - 4th and 5th bullet points revised for clarity, 6th bullet point added
  • Revised section 21 Reference - dictionary and grammar reference links separated

2018-06-04

  • Revised section 9 On-screen Text - section header revised for clarity

2018-03-09

  • Revised section 1 Abbreviations - 6th and 7th bullet points revised
  • Revised section 6 Documentary - 4th, 5th and 6th  bullet points added
  • Revised section 9 Forced Narratives - 2nd and 3rd bullet points added, 5th bullet point revised
  • Added section 12 Line Treatment
  • Revised section 13 Numbers - 4th and 5th bullet points revised
  • Revised section 15 Reading Speed - words per minute removed
  • Revised section 16 Repetitions - 1st point revised for clarity
  • Revised section 17 Songs - 2nd bullet point added
  • Revised section 18 Titles - 1st and 2nd bullet points revised
  • Revised section 19 Special Instructions - 4th bullet point revised
  • Added section 20 SDH Guidelines - renamed and expanded for clarity

2016-05-15

  • Revised section 16 Songs - 5th bullet point revised
  • Revised section 17 Titles - 1st bullet point revised, 2nd bullet point added
  • Revised section 18 Special Instructions - 4th bullet point removed

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