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Korean Timed Text Style Guide

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

I. Korean Subtitles

This section applies to Korean subtitles created for non-Korean language content (i.e. interlingual subtitles)

I.1. Acronyms

  • English acronyms that are commonly used in Korea should be written without periods between letters (e.g. CD, DVD, DNA). 

I.2. Character Limitation

  • 16 characters per line
  • Latin characters, spaces, punctuation count as 0.5 character

I.3. Character Names

  • Do not translate proper names (e.g. Peter, Suzanne), unless Netflix provides approved translations.
    • Names should be transliterated following the Korean Transliteration Guidelines available on the vendor-facing portal here
  • Nicknames should only be translated if they convey a specific meaning.
  • Short forms of names should not be used for historical figures and other well known people, (e.g. Bob or Bobby Kennedy for Robert Kennedy), except in cases where the fictional character or person is known exclusively by the short form of their name (e.g. Joey from Friends).
  • If a person/character is known by their full first and last name, it's acceptable to use either as the situation dictates.
  • Use language-specific translations for historical/mythical characters (e.g. Santa Claus).
  • Transliterate names. Follow the source format if a period is used for a middle name. (e.g. 호머 J. 심슨 for Homer J. Simpson)

I.4. 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 a sentence is split between two continuous subtitles. 

Subtitle 1:

그 사람이 내게 와서

Subtitle 2:

다시 돌아오겠다고 했어

  • Use ellipses to indicate a pause (2 seconds or more), hesitation 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 ellipses at the beginning of the second subtitle.

Subtitle 1:

오늘 날씨는 아주…

Subtitle 2:

그 사람 참 괜찮네

 

Subtitle 1:

- 내가 왜 해변에 가길 좋아하느냐면…

- 왜?

Subtitle 2:

바다에서 수영하는 게 좋아서야 

  • Use an ellipsis without a space to indicate that a subtitle is starting mid-sentence.

I.5. Documentary/Unscripted

  • Only translate a speaker’s title once, the first time the speaker appears.
  • 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.

I.6. Dual Speakers

  • Use a hyphen followed by a space if two characters speak in one subtitle with a maximum of one character speaking 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.

- 하지만 왜요? 어디 가세요?

- 미국에요

I.7. Font Information

  • Font style: Gulim as a generic placeholder for proportional SansSerif
  • Font size: relative to video resolution and ability to fit 16 characters across screen
  • Font color: white

I.8. 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.
  • Forced narratives that are redundant (e.g. identical to onscreen text or covered in the dialogue) must be deleted.
  • Forced narratives should be enclosed in double quotes (“ ”), except for foreign dialogue.
  • If the narrative is split between 2 different subtitles, use double quotes at the beginning and end of each subtitle.
  • Never combine a forced narrative with dialogue in the same subtitle.
  • When a forced narrative interrupts dialogue, do not 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.

I.9. 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). 
  • Foreign words or phrases should be translated when possible (i.e. hello, goodbye, thank you, merci) or transliterated when no accurate translation exists.
  • If a foreign word is transliterated, use single quotes to offset the foreign word. 

- ‘사요나라’

- 네가 일본어 하는 줄 몰랐어

  • Single quotes may be used to distinguish dialogue that is in a language foreign to the source language.

I.10. Italics

  • Do not use italics.

I.11. Line Treatment

  • Maximum two lines.
  • Text should usually be kept to one line, unless it exceeds the character limitation. Exceptions may be applied:
      • When there are 3 or more punctuation marks in one line.

        Subtitle:
        난 말했어, 하지 말라고, 너 뭐야! (O)
        난 말했어, 하지 말라고
        너 뭐야! (O)

         

      • When a sentence is quoted:

        Subtitle:
        내가 말했지, '난 안 그랬어' (O)
        내가 말했지
        '난 안 그랬어' (O)

I.12. Numbers

  • Numbers can be either written out or numerically. Good judgement may be applied where there are space limitations or reading speed concerns.

Subtitle:

11개 고쳤어 (O)

Subtitle:

두 개 고쳤어 (O)

  • Time: Do not use the 24-hour clock time format, except in a military context.
  • Money: Do not convert money to Korean won.
  • Measurements should be converted to the metric system, unless the original unit of measurement is plot relevant.

I.13. Punctuation

  • There should never be a period or comma at the end of a subtitle line.

Subtitle:

사랑해.

그게 내가 하고 싶은 말이었어 (X)   

사랑해,

그게 내가 하고  싶은 말이었어 (X)

  • Commas should be used when separating two sentences within a subtitle.

Subtitle:

사랑해, 그게 내가

하고 싶은 말이었어 (O)

사랑해. 그게 내가

하고 싶은 말이었어 (X)

I.14. Quotes

  • Double quotation marks (“ ”) without spaces for all narrative text (principle photography, burn-in, main title): 

Subtitle:

“그레이 아나토미”

Subtitle:

“1992년 미국 시카고”

  • Single quotation marks (‘ ’) for the following instances:
    • To indicate quoted speech and citations
    • To emphasize certain words or phrases
    • Titles of films, TV programs, albums, songs, newspapers, books, works of art
    • Foreign language
    • Reading aloud
    • If a character is seen to do "air quotes"
  • Do not use quotation marks for voice-over text, such as when the speaker:
    • Is part of a different reality, a different time and place (e.g. the speaker is part of the following scene but the visual picture is of the previous one)
    • Recalls dialogue inside his/her head
    • Is describing a scene in which he/she does not take part
  • Quotes should be used at the start and end of each subtitle if the quote carries over more than one subtitle.

Subtitle 1:

우리 모두에게 분명히 말하더군요

‘두 번째 창문 지나면 보이는’

Subtitle 2:

‘첫 번째 출구로는 나가면 안 돼

함정이니까’

I.15. Reading Speed Limits

  • Adult programs: Up to 12 characters per second
  • Children’s programs: Up to 9 characters per second

I.16. Repetitions

  • Do not translate words or phrases repeated more than once by the same speaker in the same subtitle
  • 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.
  • Do not italicize lyrics.
  • 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.
  • Use ellipses when a song continues in the background but is no longer subtitled to give precedence to dialogue.
  • Do not use quotation marks to indicate song lyrics.
  • Follow this approach for poetry also.

I.18. Titles

  • Main titles: Subtitle the on-screen main title for branded content when the approved title for Korean 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 Korean are identical and fully match. (e.g. the on-screen title is already in Korean, both read with the exact same words and spellings, etc.)
  • Subtitle when the approved title for Korean 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 Da 5 Bloods but the approved title for Korean is Da 5 블러드)
  • 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 or are not voiced-over. If on-screen (either as part of principal photography or burned into the 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, translate or transliterate.

I.19. Treatment

  • Honorific: Formal(존댓말) and informal (반말) should be decided after considering several factors such as context, relationship, era, etc.
  • Honorific usage shouldn’t be decided based solely on gender or age.
  • Don’t: A wife using formal tone when a husband uses informal tone regardless of the context.
  • Don’t: A female colleague using formal tone when a male colleague uses informal tone regardless of the context.
  • Don’t: A child using formal tone when an adult uses informal tone regardless of the context.

I.20. Special Instructions

  • Dialogue must never be censored. Expletives should be rendered as faithfully as possible.
  • All plot-pertinent dialogue should be subtitled, and 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).
  • 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.

I.21. Reference

 

II. Korean Subtitles for the Deaf and Hard of Hearing (SDH)

This section applies to Korean subtitles for the d/Deaf and hard of hearing created for Korean language content (i.e. intralingual subtitles). For regular interlingual subtitles, please see Section I. In case of conflicting instructions, the guidelines in this section should take precedence over those of Section I for any SDH files.

II.1 Accuracy of content

  • Include as much of the original content as possible.
  • Do not simplify or water down the original dialogue.
  • Truncating the original dialogue should be limited to instances where reading speed and synchronicity to the audio are an issue.
  • When editing for reading speed, favor text reduction, deletion and condensing but do not paraphrase.
  • Transcription of the source language should follow the word choice and sentence order of the spoken dialect. Slang and other dialectal features should not be changed.
  • Audio should be faithfully transcribed and deliberate mispronunciations or incorrect grammar should be reproduced. You may choose not to reproduce if it stems from indistinguishable/unclear diction, e.g. pronunciation between ‘ㅐ' and ‘ㅔ' or vague contraction between ‘김민희인데요 and ‘김민흰데요'. 

Audio: 아, 맞다, 니들이 그랬지?

Subtitle:

아, 맞는다, 너희들이 그랬지? (X)

아, 맞다, 니들이 그랬지? (O)

Audio: 아주 삐까뻔쩍하네, 마음에 쏙 들길 바래

Subtitle:

아주 뻔쩍뻔쩍하네, 마음에 쏙 들길 바라 (X)

아주 삐까뻔쩍하네, 마음에 쏙 들길 바래 (O)

  • 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.
  • Where content has been dubbed into Korean, 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.

II.2. Character Limitation

  • 16 characters per line
  • Latin characters, spaces, punctuation count as 0.5 character

II.3. Reading Speed Limit

  • Reading speed limits can be increased to:
    • Adult programs: Up to 14 characters per second
    • Children’s programs: Up to 11 characters per second

II.4 Line Treatment

  • Text should usually be kept to one line, unless it exceeds the character limitation.

[사령관] 다 좋은데 말이야… [한숨]

  • Maximum 2 lines.

II.5 Dual Speaker/Multiple Events

  • Hyphens are also used to indicate a speaker and a sound effect, if they come from different sources:

- [한경의 웃음]

- [재선] 나도야!

  • If the sound effect emanates from the speaker themselves, no hyphens are needed:

[한경의 웃음] 나도야!

  • Use hyphens to distinguish two distinct sound effects emanating from different sources:

- [한경의 웃음]

- [지수의 재채기]

- [문 열리는 소리]

- [지수의 재채기]

  • 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.

II.6 Foreign Dialogue

  • In instances of foreign dialogue being spoken:
    • Language identifiers should be added when there is a language switch, for example [한국어]
    • If translation of the foreign dialogue is provided, use [in language], for example [중국어], at the beginning of the dialogue.

Subtitle 1:

[중국어] 나도 갈래

Subtitle 2:

아니다, 취소

Subtitle 3:

[영희가 한국어로] 뭐라고 하는 거야, 못 알아듣게

  • If foreign dialogue is not meant to be understood, use [speaking language], for example [일어로 말한다]
  • Always research the language being spoken. [외국어로 말한다]  should never be used
  • Accents or dialects require the same treatment if identifiable and plot-pertinent/relevant to characterization, for example [북한 억양]
  • Foreign words that are used in a mostly Korean line of dialogue do not require identifiers, but should be transliterated. Always verify spelling, accents and punctuation, if applicable. Transliteration in this case should follow the original audio.

그러네, ‘베리 소리’, 내 잘못이야 (X)
그러네, ‘베리 쏘리’, 내 잘못이야 (O)

  • When a “fake" language or "gibberish" is present in the content and is not meant to be understood, indicate it as per this example: [가짜 언어로 말한다].

II.7 Songs

  • Audible Korean-language song lyrics:
    • Soundtrack: subtitle when they are plot-pertinent and/or do not interfere with dialogue or opening/ending credit.
    • Songs sung by characters: subtitle when possible.
  • Use song title identifiers when applicable (e.g. if the rights have been granted). Song titles should be in quotes: [‘내일이면’이 흐른다]
  • A song title can be added as an SDH label when there is room at the start of the song or when lyrics are not being included (e.g. if they remain untranslated as per the non-SDH experience or if dialogue and/or sound effects are taking precedence).
  • Song lyrics should be enclosed with a music note (♪) at the beginning and end of each subtitle.

Subtitle 1:

[엄정화의 '배반의 장미'가 흐른다]

Subtitle 2:

[영수가 쉰 목소리로] ♪ 왜 하필 나를 택했니

그 많은 사람들 중에서  ♪

  • 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 ellipses when a song continues in the background but is no longer subtitled to give precedence to dialogue.

II.8 Speaker ID

  • Use parentheses [ ] to enclose speaker IDs.
  • Use speaker IDs whenever a speaker cannot be visually identified as they start speaking. If the speaker is partially visible, the IDs can be included. Do not use speaker IDs for continuing dialogue where the speaker has been seen or has already been identified.
  • When a speaker ID is required for a character who is yet to be identified by name, use [여자] or [남자], or [남자가 말한다], so as not to provide information that is not yet present in the narrative. If the same identifier is used multiple times in one scene, numbers should be added to distinguish them, for example [여자1]. Counting should restart with the scene change. Do not add a number 1 if only one person is featured.
  • When a character needs a generic ID, you may refer to end credits at your discretion. Avoid possible spoilers.
  • When a character is identified by name, use it in the speaker ID and apply the same approach for all characters, regardless of their importance, i.e. using ‘영희 친구' for ‘철수' after a name has been mentioned is not ideal.
  • Speaker IDs may change as the story evolves if the visuals make it clear that this progression relates to the same person, e.g.

[경찰] > [김 경위] > [진수]

  • Speaker IDs and corresponding dialogue should ideally be on the same line.

    [해설자] 옛날 옛적에, 어느 마을에…

II.9 Sound Effects

  • Use brackets [ ] to enclose sound effects.
  • Describe sound effects when they cannot be visually identified. If the sound can be only be partially identified, you may include the description.
  • Describe the sounds and audio as opposed to visual elements or actions.

Subtitle:

[종이를 넘긴다] (X)

[바스락 소리] (O) or [바스락 종이 소리] (O)

Subtitle:

[잔을 달그락 내려놓는다] (X)

[달그락 소리] (O) or [달그락 잔 놓는 소리] (O)

  • If it is visually clear who is making the sound, the speaker ID should not be included in the sound description.

Subtitle:

[서진의 코 고는 소리] (X)

[코 고는 소리] (O)

Subtitle:

[기자들이 계속 질문한다] (X)

[계속되는 질문 세례] (O)

  • Plot-pertinent sound effects should always be subtitled, including important moments of silence. For example, when plot pertinent music ends abruptly (e.g. [음악이 멈춘다]). For example:
    • When a cicada sound is plot-pertinent (i.e. suggesting the change of seasons) or is the main audio in a particular scene:

[매미 소리] (O)

    • When a cicada sound is not plot-pertinent and redundant:

[매미 소리] (X)

  • Be detailed and descriptive, use adverbs where appropriate when describing sounds and music, describe voices (e.g. [들뜬 말투로]), speed of speech (e.g. [또박또박 끊어서]), volume of sound (e.g. [속삭이며]). 
  • You may use various ending forms (e.g. [기침 소리], [콜록거린다], etc.), but try not to describe the sound as 들린다 (e.g. 울음소리가 들린다).
  • Use a generic ID to indicate and describe ambient music, e.g. [라디오에서 록 음악이 흘러나온다]
  • Try to use objective descriptions that describe genre or mood identifiers for atmospheric non-lyrical music, for example [경쾌한 음악], rather than descriptions that might become a potential spoiler, e.g. [행복한 음악] or that are too subjective, e.g. [옛날 감성의 음악], if applicable.
  • Sound effects which interrupt dialogue should be treated as follows, ideally following the order of the original audio.

Subtitle 1:

- 내가 어제 봤는데…

- [첨벙 소리]

Subtitle 2:

그런 상황은 아니었어

  • Onomatopoeic words may be used, e.g. 탁

II.10 Special Instructions

  • In order to improve readability, avoid using brackets next to each other.

Subtitle:

[연구원1] [웃음] 나 저기로 갈래 (X)

[연구원1이 웃으며] 나 저기로 갈래 (O)

[연구원1의 웃음] 나 저기로 갈래 (O)

Subtitle:

[웃음] [숨을 들이켠다] (X)

[웃으며 숨을 들이켠다] (O)

[웃고 숨을 들이켠다] (O)

  • Be mindful of readability (e.g. character limits) when adding speaker IDs or sound descriptions if possible. Audiences will appreciate spending less time on reading subtitles in order to enjoy the content.

[영희와 철수] 설마! (X)

[영희, 철수] 설마! (O)

[함께] 설마! (O)

  • Bleeped sound should be indicated as follows:
    • If a specific word in a sentence is bleeped, use ‘*’ to reflect a bleeped word using one asterisk per syllable.
    • Refrain from using asterisks only. Original meaning should still be delivered.

Subtitle:

우리 이제 [음 소거 효과음] *됐네 (O)

우리 이제 [음 소거 효과음] *** (X)

 

Subtitle:

우리 [음 소거 효과음] **리스 부부야 (O)

우리 [음 소거 효과음] **** 부부야 (X)

  • If an entire phrase or sentence is bleeped, use [음 소거 효과음]. Do not use ‘X’ or ‘*’ to reflect bleeped sound.

Subtitle:

아, [음 소거 효과음] (O)

아, *** **** (X)

 

Change Log:

2024-04-05

  • Section I.18 Titles revised - 6th bullet regarding episode titles has been edited

2023-04-07

  • Section I.5 Documentary/Unscripted revised - line regarding use of ellipses when a sentence is interrupted by a narrative subtitle has been deleted
  • Section II.4 Line Treatment revised - rule now revised to max 2 lines for SDH
  • Section II.6 Foreign Dialogue revised - examples in penultimate bullet have been edited

2022-12-22

2022-11-03

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

2022-10-07

  • Revised section 4 Continuity - 3rd bullet edited to include "hesitations"
  • Revised section 18 Titles - rules added/edited to include main title translations

2021-07-11

  • Revised section 3 Character Names - 2nd bullet point added linking to the Korean Transliteration Guidelines now available on the vendor-facing portal (not public)
  • Revised section 14 Quotes - 8th bullet point added regarding "air quotes"
  • Revised section 20 SDH Guidelines - 4th bullet added regarding everyday language vs. correct grammar, 6th bullet regarding a longer CPR limit for SDH has been removed (interlingual and intralingual subtitles have the same characters per row limit)
  • Revised section 21 Special Instructions - 4th bullet point added
  • Revised section 22 Reference - 3rd bullet point added linking to the Korean Transliteration Guidelines now available on the vendor-facing portal (not public)

2021-02-24

2021-02-01

  • Revised section 3 Character names - final bullet point edited regarding inclusion of a period
  • Revised section 6 Dual Speakers - example in 2nd bullet point edited
  • Revised section 12 Numbers - 1st bullet point edited and a new example added
  • Revised section 13 Punctuation - section revised with new copy and new examples
  • Revised section 16 Repetitions - 1st bullet point revised
  • Revised section 19 Treatment - section revised with new copy and new examples

2020-10-30

  • Revised section 6 Dual Speakers - 2nd bullet point added
  • Revised section 11 Line Treatment - 2nd bullet point added
  • Revised section 14 Quotations - 7th bullet point added regarding reading aloud
  • Revised section 17 Songs - 7th bullet point added regarding poetry

2020-07-24

  • Revised section 4 Continuity - 1st bullet added clarifying the type of ellipsis permitted 
  • Revised section 20 SDH Guidelines - 3rd bullet reworded

2020-05-08

2019-08-20

2018-06-04

  • Revised section 2 Character Names - 1st bullet point revised, 3rd and 4th bullet points added
  • Revised section 8 On-screen Text - section header revised for clarity

2018-02-05

2018-02-05

  • Revised section 5 Documentary - 3rd and 4th bullet points added
  • Revised section 8 Forced Narratives - 2nd and 3rd bullet points added
  • Revised section 12 Numbers - 4th bullet point revised
  • 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 20 SDH Guidelines - expanded for clarity
  • Revised section 22 Reference - 3rd bullet point revised

2017-10-06

  • Revised section 2 Character Limitation - 2nd bullet point added
  • Revised section 13 Punctuation - 1st bullet point revised, 2nd bullet point added, examples revised for clarity
  • Revised section 18 Titles - 1st bullet point revised
  • Revised section 22 References - 3rd and 4th bullet points added

2017-03-17

  • Revised section 18 Titles - 1st bullet point revised, 2nd bullet point added

2016-05-15

  • Revised section 17 Songs - 3rd bullet point revised
  • Revised section 14 Foreign Dialogue - 2nd bullet point added
  • Revised section 18 Titles - 1st bullet point revised, 2nd bullet point added
  • Added section 19 Treatment
  • Added section 20 SDH Guidelines

2015-12-07 (Version 3.3 )

  • Revised section 14.2 Character limitation
  • Revised section 14.4 Continuity - 2nd and 3rd bullet points revised
  • Revised section 14.12 Numbers - 1st bullet point revised. 2nd, 3rd, 4th, 5th, 6th, 7th bullet points deleted
  • Added section  14.13 Punctuation
  • Revised section 14.14 Quotes - 4th bullet point revised

 

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