You are expected to satisfy the following basic conditions:
    (1) an enthusiast of movies or American plays;
    (2) networking conditions (10KB/S or above to download from public networks);
    (3) spare time (10 hours or above every month);
    (4) steadfast, earnest, with good work ethics, a teamwork spirit and a strong sense of responsibility; 
    (5) currently not working or holding any position at other subtitle teams for movies or American plays.

Languages and skills
I. For translators or listening translators (of English, Japanese, Korean, German, French, Italian, or Spanish, etc.)
1. Language ability:
     (1) English translation: able to understand movies with English subtitles; CET-6 (or CET-4 excellent level) or above; confident in language ability; proficient in typing; good ability in written Chinese language; English or Chinese majors are a plus.
     (2) English listening translation: understand 95% of dialogues without subtitles; overseas experience is a plus.
     (3) Listening translation for other languages: understand 95% or above of dialogues without subtitles; living experience in corresponding countries is a plus; for Japanese translation, JPT1 or above is required.
2. Job description:
     (1) Translation: TLF will provide a FTP server for members to download movies, as well as subtitles in foreign languages (including time axes); members play the movies with a player, translate the dialogues with Notepad, proofread the translation and hand it out.
     (2) Listening translation: TLF will provide a FTP server for members to download movies, as well as tutorials on time axis; members make time axis and Chinese subtitles with special software, and proofread and submit them. (After joining us, you may receive training on time axis)
II. Time axis producer
1. Skills:
     (1) English CET-6 or above, or at least one foreign language;
     (2) Proficient with at least one time axis software.
2. Job description: time axis service for listening translation, CC time axis
3. TLF-HDRip subtitles adjustment

     Because many subtitle teams coexist, the competition naturally grows intense among them. They compete in translation quality and speed. In less than 12 hours after each part of Prison Break is broadcast in the United States, shooter. cn, the largest subtitled video downloading site in China, provides the video file for downloading. In a few days thereafter, some subtitle teams re-release the file in different resolutions, including the common RMVB version, the Avi version (to support DVD machines with MPG4), the H264 version (resolution 960X544, audio AC 35.1), and the high-definition HDTV720 version (each part is 1.4G, resolution 1280X720, Dolby Surround 5.1).
     As a matter of fact, the existence of Chinese subtitle teams does not only mean that the programs are translated, but that Chinese audiences in the last year have been able to almost simultaneously view the programs with the American audience. Any hot new American programs, such as Desperate Housewives, Lost, Las Vegas, or 24, as long as it is popular, can be downloaded with BT from the internet.
      As to the unlicensed translation and whether the uploading and downloading conduct constitutes infringement, Prison Break is a special case, since it seems that the copyright holder, FOX, has not had its interests damaged. These subtitle teams seemingly have promoted Fox’s program free of charge. If China does not plan to import the program, FOX will never suffer any financial loss. However, the losses are huge for the Hollywood movies, which China does import and for the entire movie industry for the unlicensed translation and dissemination with BT. Therefore, Prison Break introduces our following topic, which extends to every aspect of the infringing BT networks. 

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    Our journalist interviewed with Mr. Roberto De Vido by email, Asia-Pacific Communications Consultant of Motion Picture Association (MPA) regarding if BT may cause losses to the movie industry. Mr. De Vido said, “Content owners do not benefit when people view and consume illegal content and do not pay for it. The content owners are not able to derive revenue from that programming. Pirates make it more difficult for Chinese television stations to legitimately purchase content and offer it to their viewers/subscribers. As with all piracy, there is great economic harm done to distributors, exhibitors and broadcasters as well as to the copyright owners. The movie (and television) business involves literally millions of people worldwide, who work in and own home video retail and rental shops, movie theaters, television stations in every country on earth, as well as those who are directly involved in production and marketing. Chinese industry is affected far more than MPA member companies. At the moment it is virtually impossible for Chinese filmmakers to make money domestically from their productions; they must hope to sell overseas distribution rights and as a result make money in markets where piracy is less widespread. Ultimately, consumers who come to rely on movie pirates for their entertainment quickly learn that the pirates carry not only foreign films but also Chinese films.”
     Also, Mr. De Vido mentioned,” The biggest threat to the movie industry today is not from illegal DVD factories, but from peer-to-peer file sharing, which allows copyrighted content to be distributed around the globe instantaneously without any compensation to the artists and producers of such content. MPA research shows that piracy cost the film industry in Asia-Pacific US$5.5 billion in 2005. Of those losses, US$1.8 billion is estimated to have been the result of Internet piracy. 
      These are big numbers, and they are numbers that hurt everyone. The economic and social impact of IP theft is enormous and will have even greater, long-term implications if not brought under control. Making movies is an expensive business, and it is a risky business because of the potential low rate of return on investment. When large numbers of people "consume" movies without paying, these so-called "free riders" undermine the financial base of movie making. While free riders are even more harmful to developing movie companies seeking a sound financial footing in the marketplace, they threaten major movie studios as well. If millions of people continue to steal movies, the result will be that the movie companies, both large and small, will be unable to produce quality content.”