Spiral(2007)2 Available Subtitles
Spiral has been an export success, with sales to broadcasters in more than 70 countries including Australia, Denmark, Finland, Italy, Japan, Mexico, Portugal, Switzerland, and the United Kingdom. In Australia, the first series was broadcast in 2008 on SBS One, the second series on SBS Two from September 2009 and the third series on SBS Two from mid-2012. Spiral debuted in North America via Netflix in September 2012, but is no longer available on the service.
Spiral(2007)2 Available subtitles
State advertising plays an important role in supporting progovernment media in Serbia as well, and there are additional innovative methods available for the government to channel money to friendly media. Project co-financing, through which the state chips in to help media projects that serve the public interest, has been used to allocate money to progovernment outlets. This abuse was highlighted by the European Commission in its 2018 report on Serbia, which also criticized the nontransparent nature of the co-financing processes. Friendly outlets have also benefitted from selective tax enforcement, while smaller, critical outlets have suffered harsh penalties.
fN is existing filter number, starting from 0, if no such filter is availableerror is returned.freq set new frequency parameter.width set new width parameter in Hertz.gain set new gain parameter in dB.
Apply a biquad IIR filter with the given coefficients.Where b0, b1, b2 and a0, a1, a2are the numerator and denominator coefficients respectively.and channels, c specify which channels to filter, by default allavailable are filtered.
This filter accepts stereo input and produce surround (3.0) channels output.The newly produced front center channel have enhanced speech dialogue originallyavailable in both stereo channels.This filter outputs front left and front right channels same as available in stereo input.
Enable alternative boundary mode. By default is disabled.The Dynamic Audio Normalizer takes into account a certain neighbourhoodaround each frame. This includes the preceding frames as well as thesubsequent frames. However, for the "boundary" frames, located at the verybeginning and at the very end of the audio file, not all neighbouringframes are available. In particular, for the first few frames in the audiofile, the preceding frames are not known. And, similarly, for the last fewframes in the audio file, the subsequent frames are not known. Thus, thequestion arises which gain factors should be assumed for the missing framesin the "boundary" region. The Dynamic Audio Normalizer implements two modesto deal with this situation. The default boundary mode assumes a gain factorof exactly 1.0 for the missing frames, resulting in a smooth "fade in" and"fade out" at the beginning and at the end of the input, respectively.
This filter accepts stereo input and produce stereo with LFE (2.1) channels output.The newly produced LFE channel have enhanced virtual bass originally obtained from both stereo channels.This filter outputs front left and front right channels unchanged as available in stereo input.
Specify all filters by their respective name and options.Use list_filters to determine all valid filter names and options.Numerical options are specified by a float value and are automatically clampedto their respective value range. Vector and color options have to be specifiedby a list of space separated float values. Character escaping has to be done.A special option name default is available to use default options for afilter.
These define an exclusion band which excludes the lines between y0 andy1 from being included in the field matching decision. An exclusionband can be used to ignore subtitles, a logo, or other things that mayinterfere with the matching. y0 sets the starting scan line andy1 sets the ending line; all lines in between y0 andy1 (including y0 and y1) will be ignored. Settingy0 and y1 to the same value will disable the feature.y0 and y1 defaults to 0.
This filter can be used to correct for radial distortion as can result from the useof wide angle lenses, and thereby re-rectify the image. To find the right parametersone can use tools available for example as part of opencv or simply trial-and-error.To use opencv use the calibration sample (under samples/cpp) from the opencv sourcesand extract the k1 and k2 coefficients from the resulting matrix.
To obtain a list of available makes and models, leave out one or both of make andmodel options. The filter will send the full list to the log with level INFO.The first column is the make and the second column is the model.To obtain a list of available lenses, set any values for make and model and leave out thelens_model option. The filter will send the full list of lenses in the log with levelINFO. The ffmpeg tool will exit after the list is printed.
The position (byte offset) of the frame in the input stream, or NaN ifthis information is unavailable and/or meaningless (for example in case of synthetic video).Only available with eval=frame.Deprecated, do not use.
See the scale filter for available options, scale2ref supports the same butuses the reference video instead of the main input as basis. scale2ref alsosupports the following additional constants for the w andh options:
See the scale_npp filter for available options, scale2ref_npp supports the samebut uses the reference video instead of the main input as basis. scale2ref_nppalso supports the following additional constants for the w andh options:
To enable compilation of this filter you need to configure FFmpeg with--enable-libass. This filter also requires a build with libavcodec andlibavformat to convert the passed subtitles file to ASS (Advanced SubstationAlpha) subtitles format.
i totally agree with you armin - its not a great movie, its in many ways highly contrived and visually excessive (more shaky camera than you can, well, shake a camera at), hyper saturated colors and the like - but at the end of the day it is in many ways a very cohesive vision of the kind of chaotic downward spiral the protagonist is on, while heavy-handed yes, even the expressive subtitles help to add to this. I did like it - after seeing the DVD the 1st time around i went thru it again just to some of the more visually compelling scenes (some of which you have here) and it feels like Tony Scott was attempting to be expressive with more than just his actors, and in that respect i give him credit - i actually quite enjoyed watching the little dance of the subtitles.
My initial reaction when I saw this film was the same as you, Armin. Love the saturation, grittiness, etc. But one thing I found was that the over done typography in the subtitles took me out of the experience of the film. The grittiness that pulled me into Mexico City was immediately taken away as soon as I felt like I was watching a cheezy flash intro screen for two and a half hours.
We all know that type can have many functions. I love that this director has recognized the expressive nature of typography, but I don't think being this tricky is appropriate for the purpose of subtitles.
Just got back from Netflix...this is worth examining, entertainment value aside. Subtitles are a necessary evil - wait, do they have to be evil? It seems like it sometimes! I have had two recent evil encounters with screen type - the first I'm almost too embarassed to admit watching. Hey, I like Milla. Anyway, the intro text to The Messenger: The Story of Joan of Arc was set in a gothic blackletter font that was absolutely unreadable. Really, we paused, we squinted. I have no idea what the majority of it said. Who approves these things?! Second was Ong Bak's theatrical release. Okay, this isn't the type itself (I'm getting a little off the subject), but I feel compelled to warn lovers of foreign action movies that the American release cut out a whole sub-plot and the subtitles are COMPLETELY different and really removed a lot of genuine goodness from the original.
When I watch DVDs, I usually turn on the English subtitles, even if it's an English-speaking film. I prefer this b/c I don't want to miss any of the dialogue, plus it allows me to enjoy the sound mixing and score of the movie more.
No debate there. However, movie chapters, "locations", character names (a la Tarantino) are a different animal than subtitles. Subtitles run along with what is ocurring in the plot; these other shorter typographic jolts are part of the narrative. I actually don't think there are many movies where subtitles are as animated as in Man on Fire.
This is quite an interesting post. I for one have found most subtitles to be a nuisance in viewing a movie rather than really helping as much. Having to move my eyes away from the action to quickly view the English dialogue seems to take me out of the movie and I quickly lose interest most of the time.
I for one have found most subtitles to be a nuisance in viewing a movie rather than really helping as much. Having to move my eyes away from the action to quickly view the English dialogue seems to take me out of the movie and I quickly lose interest most of the time.
After living in the states for the past couple of years I found out that almost everyone hates subtitles here. I couldn't get my girlfriend to watch Crouching Tiger in chinese because she hated subtitles.
you know, i saw this movie and didn't even remember how those subtitles were done until reading this post. i guess that means they didn't distract me much. now that i think back i really did enjoy the way they were treated.
> It becomes a second nature I guess; you watch the movie - you read the subtitles. It's all one experience. After living in the states for the past couple of years I found out that almost everyone hates subtitles here.
It certainly does take time to get used to subtitles, maybe after 2 or 3 movies. I know, because I've watched my brother's collection of Hong Kong action flicks, and it only takes at least a few seconds for me to read the line of Mandarin Chinese and view the entire scene afterwards. A rhythm develops between reading and watching, and I don't notice the stress and agitation that the "subtitle haters" feel. 041b061a72