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A short guide to post-editing
Artificial intelligence is changing and will continue to change the world we live in. These changes are also influencing the translation market. Machine translation (MT) systems automatically transfer one language to another within seconds. However, MT systems are very often still not capable of producing perfect translations. To achieve high quality translations, the MT output first has to be corrected by a professional translator. This procedure is called post-editing (PE). PE has become an established task on the professional translation market. The aim of this text book is to provide basic knowledge about the most relevant topics in professional PE. The text book comprises ten chapters on both theoretical and practical aspects including topics like MT approaches and development, guidelines, integration into CAT tools, risks in PE, data security, practical decisions in the PE process, competences for PE, and new job profiles.
The Editing Process
Set in the offices of a magazine publishers, Meredith Oakes' comedy of fragile values in the media will not restore your faith in human nature, but it is guaranteed to help you get on in publishing without really succeeding. First performed at the Royal Court Theatre, directed by Stephen Daldry.
Film Editing
Film Editing provides an introduction to the craft of editing in the non-silent film. In clear and accessible language, Valerie Orpen considers editing as an expressive strategy rather than a mere technique. She reveals that editing can be approached and studied in a similar way to other aspects of film. Traditionally, studies on editing or montage tend to focus on silent cinema, yet this book claims that an examination of editing should also consider the role of the soundtrack. The aim of Film Editing is to examine the way in which editing can make meaning. The book addresses editing as part of a wider context and as a crucial element of the overarching design and vision of a film. Consequently, this book incorporates other parameters, such as mise-en-scène, framing, sound, genre, history, and performance. By examining a number of mainstream and art films, such as Godard's A bout de souffle, Hitchcock's Rear Window, and Scorsese's Raging Bull, Film Editing seeks to dispel the notion that editing is necessarily polarized as continuity versus discontinuity.
The Editor's Companion
The Editor's Companion explains the traditional skills of editing for publication. It describes the editorial tasks for all kinds of print and screen publications and is an essential tool not only for professional editors but also for media and publications officers, self-publishers and writers editing their own work.
Developmental Editing
Editing is a tricky business. It requires analytical flair and creative panache, the patience of a saint and the vision of a writer. Transforming a manuscript into a book that edifies, inspires, and sells? That’s the job of the developmental editor, whose desk is the first stop for many manuscripts on the road to bookdom—a route ably mapped out in the pages of Developmental Editing. Author Scott Norton has worked with a diverse range of authors, editors, and publishers, and his handbook provides an approach to developmental editing that is logical, collaborative, humorous, and realistic. He starts with the core tasks of shaping the proposal, finding the hook, and building the narrative o...
Avid Editing
Avid Editing is a comprehensive guide covering Avid Xpress Pro, XPress Pro HD, and Xpress DV. Due to the similarity of Avid's interface across product lines, it is also relevant for Media Composer and other systems. Suitable for beginning editors or experienced editors new to the Avid, the book provides step-by-step instructions for hundreds of editing tasks in jargon-free terms. The chapters guide you through an editing project, while the accompanying DVD provides narrative footage to download for immediate, hands-on practice. The book can be read and studied at home, or while sitting in front of an Avid, following the book's step-by-step instructions. More than a software manual, this book...
Post-editing of Machine Translation
Post-editing is possibly the oldest form of human-machine cooperation for translation. It has been a common practice for just about as long as operational machine translation systems have existed. Recently, however, there has been a surge of interest in post-editing among the wider user community, partly due to the increasing quality of machine translation output, but also to the availability of free, reliable software for both machine translation and post-editing. As a result, the practices and processes of the translation industry are changing in fundamental ways. This volume is a compilation of work by researchers, developers and practitioners of post-editing, presented at two recent events on post-editing: The first Workshop on Post-editing Technology and Practice, held in conjunction with the 10th Conference of the Association for Machine Translation in the Americas, held in San Diego, in 2012; and the International Workshop on Expertise in Translation and Post-editing Research and Application, held at the Copenhagen Business School, in 2012.
Multimedia and Groupware for Editing
Multimedia techniques enable the production of non-traditional documents containing enourmous amounts of information. The production of such documents by a group, as opposed to an individual, is the main subject of this book. A group needs to communicate, and multimedia technology can be used to enhance group communication. How multimedia documentation and communication and groups of authors fit together are the main questions tackled. The book describes the construction of a conceptual framework and the prototype system, CoMEdiA, as well as how the system was used to conduct a group effectiveness study involving two applications: cooperative software engineering and data production. Thus the work relates to multimedia communication, cooperative editing, and group support and effectiveness.
Woolf Editing / Editing Woolf
Woolf Editing / Editing Woolf focuses on Woolf as editor both of her own work and of the Hogarth Press, and on editing Woolf—on the conflation of textual and theoretical criticism of Woolf’s oeuvre. Since many contributors are editors, creative writers, and critics, contributions highlight the intersections of those three roles. The essays variously addressed the “granite” of close textual reading and the “rainbow” of theoretical approaches to Woolf’s writings. Several more flexible versions of editing emerge in the papers that discuss adaptations of Woolf to film, theatre, and music. Brenda Silver’s contribution in memory of Julia Briggs opens the volume, and James Haule’s contribution concludes it.
