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Sample translations submitted: 8
Japanese to English: NHK Special - The Next Megaquake Ep. 2 (TV) General field: Art/Literary Detailed field: Cinema, Film, TV, Drama
Source text - Japanese 震災後の新たな発見が、巨大津波の想定の見直しを迫っています。
東海から九州の沿岸にのびる南海トラフ。
いくつもの地震が連動し、最大、マグニチュード９の巨大地震が起きるとされています。
南海トラフの津波を、地層から研究している岡村眞教授です。
震災後の調査で、かつてない巨大な津波の痕跡を発見しました。
高知県土佐市で見つかった、ニ千年前の巨大津波。
津波で運ばれた砂は、厚さ６０センチを超えていました。
「今回の東北だって最大の砂の厚さは２０センチ位ですから、それに比べるとものすごく厚い」
「海底をそのままひっかいてくる津波、１回、２波目。３波目。全体としてそれぞれ大きい」
Translation - English New evidence found after the 2011 earthquake is leading to a change in the presumable maximum scale of megatsunamis.
The Nankai Trough, stretching from the Eastern Sea to Kyushu Island’s coast.
When chained quakes occur, a megaquake up to a magnitude of nine can be created.
Dr. Makoto Okamura investigates the Nankai Trough tsunamis using layers of earth.
In surveys taken after the 2011 earthquake, he discovered traces of a megatsunami unlike anything ever seen before.
In Tosa, Kochi Prefecture, a 2000 year old megatsunami was discovered.
The sediment brought in by the tsunami exceeded 60 centimeters in depth.
“Even the greatest depths of sediment deposited in Northeast Japan by the 2011 earthquake were only about 20 centimeters, so compared to that this depth is extremely huge.”
“We think it was a tsunami that scraped up whole section of sea floor. It came in once, twice, and then a third time. And each of the waves were quite large.”
Japanese to English: NHK Special - China 2000 B.C. Ep. 3 (TV) General field: Art/Literary Detailed field: Cinema, Film, TV, Drama
Source text - Japanese 今も続く発掘作業。
土色だと思われていた兵馬俑に鮮やかな色彩が施されていたことが分かってきたのです。
長い年月でほとんどの色がなくなっていますが、実は２千年前には全ての兵馬俑に色がついていたのです。
主に使われていたのは、白、黒、赤、青、黄色の五つの色。 天地の万物を表わすとされた 「五色」です。
それは、中国の土壌の色と深く関わっていました。
例えばこれ黄土ですね。中央の色、黄色い土です。南へ行きますと鉄分の影 響で赤くなりますね、赤い土。
東西南北と中央。中国各地の土壌の色に重なる「五色」。
それは、気候風土も多様な中国の大地を映していました。
発掘データを元に再現した、２千年前の兵馬俑です。
始皇帝が一体一体を五色で彩ったのは何故か？
それは、多様な地域、人々からなる中国を統一したことを、誇示しようとしたのだと考えられています。
この兵馬俑は、「中華」という世界観に中国を一つにする力があることを物語っています。
史上初めて中国を統一した始皇帝。
始皇帝が築き上げた、壮大な「中華帝国」とは。
How did this exceptional civilization originate?
紀元前３世紀、群雄が割拠し、覇権を争った春秋戦国時代。
始皇帝の統一を実現させたのは、軍事力だけではありませんでした。
鍵となったのは、「中華Zhong-hua」という世界観。
最新の発掘研究から明らかになる、「中華」誕生の秘密。
「中華」の源流となった、最古の王朝・夏王朝。
Translation - English Excavation continues even now.
We now know that the Terracotta army, thought to have been earth-colored, was actually vividly painted.
“Due to the passage of time, most of the shades have worn off. However, two millennia ago, the entire army was coated with color.”
The five most commonly used colors were white, black, red, blue, and yellow - the five colors thought to represent everything in the universe.
These colors have a deep connection with the soil of China.
For instance, this is yellow silt. The color of the central area, the yellow earth. Going south, the iron content gives us this red clay soil.
North, south, east, west, and center. These five colors correspond to the soil in the regions of China.
It expresses the land of China, with its wide-ranging climates and natural features.
This is a visualization of the Terracotta Army as it looked 2,000 years ago, created using archaeological data.
Why was it that Qin Shihuang had each statue painted with these 5 colors?
It is thought that he did it to make it known that he had unified all of China’s diverse regions and people.
The Terracotta Army reveals that within the “Idea of Zhong-hua” lay the power to make China one.
Qin Shihuang, who was the first in history to unify China.
What was the sprawling “Zhong-hua” empire which he created?
How did this exceptional civilization originate?
The Spring & Autumn and Warring States Periods in the 3rd century BC, an age of rival warlords battling for supremacy.
It wasn’t just military power that allowed Qin Shihuang to unify China.
The key was the worldview known as “Zhong-hua”.
The secret of the creation of “Zhong-hua”, revealed through the latest archaeological research.
The source of “Zhong-hua” was the Xia, the oldest dynasty.
Japanese to English: NIKON Beautiful Dreamers Contest General field: Marketing Detailed field: Electronics / Elect Eng
Source text - Japanese ウィナーにはこんな商品を贈呈!
最も多くみなさんに応援の投票をされた挑戦を、
毎月、Best Dream of the Monthとして表彰。
挑戦の姿をおさめた写真がカバーページに掲載されます。
また、キャンペーンの最後には、Best Dream of the Monthの中から
“The Most Beautiful Dreamer”を選定。
ニコンからの賞品として、デジタルカメラ“NIKON1 J1”をプレゼントします。
さらに、NIKON BEAUTIFUL DREAMERS事務局(a panel of judges)によって毎月１枚“特別賞”を選定。ウォーターマンのボールペンをプレゼント致します。
あなたやあなたの応援する人の挑戦する姿で豪華賞品を獲得するチャンス！
さぁ、いますぐ参加しよう！
＊備考
・賞品の色を選ぶことはできません
・予告なしに賞品が変わる可能性がございます。
・ ・The Best Dream of the Monthは投票数によって決定されます。
・ ・The Most Beautiful Dreamerはテーマとの親和性等を鑑み、The Best Dream of the Monthの中から事務局（judges）によって選考させて頂きます。
・ ・The best challenge of the monthに選ばれた写真は、ファンページトップに掲載させて頂きます。
特別賞はNIKON BEAUTIFUL DREAMERS事務局によって選定されます。
Translation - English Fantastic prizes for the winners!
Each month, the photo that gets the most votes will be chosen as “Best Dream of the Month”, and displayed on the top page. And at the end of the contest, “The Most Beautiful Dreamer” will be selected from the monthly winners and receive the grand prize, a Nikon 1 J1 digital camera.
In addition, the Nikon Beautiful Dreamers panel of judges will be giving out a special prize each month – a premium Waterman pen.
It’s a chance for you or those you’re cheering for to earn an incredible prize!
So what are you waiting for? Start voting and sending in photos!
*Prizes
The Most Beautiful Dreamer: Nikon 1 J1 (grand prize)
Special Prize: Premium Waterman pen (1 prize each month, 5 in total)
*Conditions
- Prize color cannot be selected
- Prizes may change without notice
--- The “Best Dream of the Month” will be determined by vote count
--- The “Most Beautiful Dreamer” will be determined from among the Best Dreams of the Month by judges based on factors such as compatibility with the contest’s theme.
--- Photos selected as “The Best Challenge of the Month” will be displayed on the top page.
- Special Prize winners will be determined by the Nikon Beautiful Dreamers panel of judges.
Japanese to English: Nishimura Manufacturing - Slitters General field: Tech/Engineering Detailed field: Manufacturing
Source text - Japanese V-COS SERIES
適応材料 PETフィルム全般
Translation - English V-COS SERIES
Usable materials All varieties of PET film
Operable by one person - get an edge in efficiency and quality.
“V-COS” is a next generation slitter that uses central control of perpendicular automatic winding to allow one person to monitor the entire winding situation. Using distributed CPU control with information processing functionality, the various rollers are run by directly connected motors using a synchronized drive system (DIM). The machine’s structure, designed to decrease idle time, allows shortening of the workflow and parallel operation, with special rollers used to take the necessary measures against air winding which can occur in high-speed winding.
●Centrally controllable by one person ●Perpendicular winder structure ●Eccentric absorption control ●Max. winding speed 1,000m/min
Japanese to English: Power Plant Safety Manual General field: Bus/Financial Detailed field: Safety
Source text - Japanese 平成22年6月29日、磯子カンパニーにおいてトラック荷台からフォークリフトを使用して荷卸し作業中に積荷が落下し、フォークリフト爪の入り具合を確認しようとした被災者が重傷を負う災害が発生しました。
フォークリフト作業及びトラックの荷積卸し作業については、安衛法に講ずべき措置が規定されていますので下記のとおり水平展開指示することと致します。
Translation - English On June 29, 2010 at the Isogo Company, an accident occurred where during unloading from a truck bed with a forklift the load fell, and a worker checking the insertion of the forklift’s prongs was severely injured.
With regards to forklift work and truck unloading, rules have been established in accordance with the Industrial Safety and Health Law, so horizontal deployment will be conducted as follows.
With regards to forklift (vehicle type material handling machine etc.) as well as truck unloading, the following regulations will be followed.
Additionally, the below items are related to industrial accidents at Isogo, so please continue with procedures laid out in the “Ordinance on Industrial Safety and Health” such as “before-use inspections” as previously.
１． Creation of “Work Plans”【Article 151-3】
When carrying out work using a forklift, etc., establish in advance a work plan in conformity with the space and landform of the place pertaining to the said work, the type and capability of the said machine, and the type and shape of the cargo, and carry out the work by the said work plan.
２． Layout and Leadership for “Operation Leaders”【Article 151-4】
When carrying out work using a forklift, designate a leader for the said work, and have the said leader direct the work based on the “work plan.
３．Prevention of Workers Being Hit (Creating No-entrance Zones)【Article 151-7】
When carrying out work using a forklift, do not allow a worker to enter a place, which is liable to cause dangers to workers due to being hit by the forklift during operation, or its cargo, or post a guide, and have him/her guide the forklift.
４． Posting of Operation Leaders for Truck Unloading※１【Article 151-70】
When loading a cargo with the weight of 100 kg or more on a truck or unloading the said cargo, designate a person who directs the said work, and have the said person carry out the following matters:
①． To decide a work procedure and the work method for each work procedure, and supervise the work directly.
②． To check instruments and tools.
③． Not to allow workers other than those concerned to enter the place where the said work is carried out.
④． When carrying out unroping or unsheeting work, to instruct said work to commence after having confirmed that there is no danger of falling cargo from a loading platform.
⑤． (Abbreviated)
※１：Aside from forklift work, this article also applies to crane work.
５．Enacting safety and health training at regular intervals for forklift drivers【Guidelines for Safety and Health Training for People Currently Engaging in Work Involving Dangers or Hazards (Public Announcement for Safety and Health Education #1, May 22, 1989) 】
It is decided that forklift drivers will undergo safety and health training every 5 years, or upon changing forklift types (training held frequently) according to the “guidelines” above, so drivers at this company must engage in scheduled safety and health training, and provide training for cooperating companies.
１． Selected portions of “Ordinances for Health and Safety”
２． Guidelines for Safety and Health Training for People Currently Engaging in Work Involving Dangers or Hazards (Public Announcement for Safety and Health Education #1, May 22, 1989)
３． Isogo forklift accident causes and response
Japanese to English: Kyoto Traditional Goods Exhibition General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Japanese かつら Katsura (Wigs for Actors and Actresses)
古代の「草(くさ)鬘(かつら)」「花(はな)鬘(かつら)」を用いて頭髪(とうはつ)を装飾(そうしょく)した風習から始まっており、頭の全部にはめ込むような形になったのは江戸初期（延寶(えんぽう)年間）といわれています。かつら作りは一枚の金属板を役者の頭に合わせることから始まり、人の数だけ違う型ができます。植毛(しょくもう)の大半は人毛が使われています。生え際の一本，二本の具合で全体の感じが変わり、神経の使いどころです。大きくは映像(えいぞう)用と花街(かがい)の舞台用に大別されますが、ほとんどの工程が手作業です。
Translation - English Katsura (Wigs for Actors and Actresses)
The Katsura originates from the grass wigs (kusa-katsura) and flower wigs (hana-katsura) used in ancient times, but it is said to have been designed to fit around the whole head at the beginning of the Edo period (1673-1681). Katsura were produced by first matching a metal plate to a performer’s head, so there were as many katsura types as there were performers who used them. Human hair was used for the majority of hairs. Since a difference of just one or two hairs at the hairline could change the entire appearance, careful attention was required. Katsura are broadly divided into types for film and types for the stages found in the pleasure districts, but for both of them, most of the production process is done by hand.
Gaku Kanban (Tablets)
From the Shinto and Buddhist tablets appearing over the front halls of shrines and temples on “torii” gateways and main entrances, to the tablets on tea houses and the engraved wooden signs on longstanding shops, gaku kanban have deep roots in traditional Japanese culture and way of life. The manufacturing process involves trimming down rough wood to make a base for the sign, attaching a paper with the desired calligraphy, then carving. Then, paint or lacquer is applied to the carved characters, followed by gold leaf. The planning and manufacturing of gaku kanban is usually carried out in Kyoto, where this handicraft, using skills cultivated through history and tradition, continues to this day.
Kyo Koma (Kyoto Spinning Tops)
Ancient kyo koma were used in court rituals, but as its connection to Shintoism weakened, it became a toy of the nobility. The kyo koma originates from the Azuchi-Momoyama period (1558-1600), when upper-class women would wrap scraps of cloth left over from when their kimonos were made around a bamboo rod core. This would then be shaped into a top, to become a plaything to be spun indoors. Unlike a typical top carved from wood, a string dyed at the tip was put into the center of the bamboo core and wrapped around the top. There are also versions using thinly-cut Nishijin and Yuzen silk. While the traditional ways of enjoying the New Year are gradually fading away, the colorful kyo koma can not only be spun, but are also used as decorations.
Kyo Tatami (Kyoto-style Tatami Mat)
The tatami mat is said to have originated in the age of the gods, but it is first mentioned in a passage from the Kojiki (Records of Ancient Matters) from the Nara Period (710 – 794). A picture scroll from the Heian Period (794 – 1185) depicts a tatami mat with a similar shape to those of the present day, and tatami mats made of straw appeared in the Kamakura Period (1185 – 1333). Accompanying development in the Japanese tea ceremony, the tatami mat underwent numerous changes and began to be used by average citizens as well. There are two basic types of tatami mats: the “standard tatami” for use in homes and tea rooms, and the “Yusoku tatami” used in shrines and temples. In Kyoto, the tatami mats used in tea rooms, shrines and temples like the “Kyo tatami”, “atsu tatami”, and “yae tatami” are producing using highly refined techniques. Even today, tatami production techniques in keeping with the ancient style are being passed on.
Kyoumaru Uchiwa (Kyomaru Fans)
The origin of the Kyomaru fan is thought to be the “gensei-gata Fukakusa uchiwa”, produced during the Momoyama period (1583-1600) using Fukakusa Japanese timber bamboo. When this disappeared in the late 19th century, the new, more useable, fan which appeared at the same time was the kyomaru fan. In the pleasure districts of Kyoto, there is still a custom of geishas and maikos giving made-to-order, name-engraved fans to their regular customers as a summer greeting. Japanese paper is used for the fan paper, and the fans are created one by one by hand using traditional skills and methods.
Sagamen (Saga Masks)
Saga masks are thought to have been derived from masks used in kyogen at the Sagashaka-do (Seiryo-ji). In the late Edo period (around the mid-19th century), they were sold as protective charms in Saga’s shrines and temples, becoming Saga-arashiyama’s most well-known handicraft. However, Saga masks had completely disappeared by the early Showa period (late 1920’s – 1930’s), undergoing a revival about a decade after the end of World War II. Using the old “hariko” technique, Japanese paper covered with paste is layered on top of plaster and dried. Colored paint is layered numerous times over the mask’s undercoat, with completed Saga masks having quite a unique appearance.
Shamisen (Three-stringed Japanese Lute)
The shamisen is said to be an improved version of the shabisen, brought to Osaka’s Sakai district 400 years ago, in the Eiroku period. Created using wood such as Indian redsander wood, the shamisen is made up of a pegbox (tenjin), neck (sao), and body (dou). Very careful techniques are required in placing the skin on the body, stretching it until it just about to tear. The planning and manufacturing is mostly done in Kyoto, where skills are maintained to fulfill orders for thick, normal, and thin strings as well as for particular schools of shamisen, and most of the production process is by hand. It is a Japanese instrument which is indispensable to the stages of the pleasure districts of Kyoto.
Shakuhachi (Shakuhachi Flutes)
The shakuhachi flute is a type of traditional Japanese woodwind. It first was introduced from Tang dynasty China as a “gagaku” (court music) instrument. It then entered a period where little about the flute is known, evolving into its present form throughout the Kamakura and Edo periods (nearly 1000 years). Its name comes from its length (one shaku plus eight sun in the Japanese measurement system, about 54.5 cm). Starting with a Japanese timber bamboo’s base, any knots are cut out of the inside of the pipe, and the diameter is adjusted by layering a mixture of lacquer, plaster, and water. In Kyoto, traditional handicraft skills are combined with acoustics research, each shakuhachi being touted as meeting the highest standards.
Chazutsu (Tea Canisters)
After Eisai, the founder of Kennin-ji (a very old Zen temple in Kyoto), brought tea leaves back from China, the well-sealed pipe-shaped vessel to preserve the leaves became necessary as well.
In Kyoto, tinplate imported from England during the Westernization in the Meiji period began to be used to manufacture cylindrical tea canisters. Most other tea canisters are created by machines using molds, but the production of Kaikado’s chazutsus is completely by hand, created using over 130 steps. The special polish of the material changes in color and luster with use, and the minute accuracy which allows the lid to shut by itself when placed on the canister’s opening is a feat that only handmade techniques can achieve.
Hanpusei Kaban (Canvas Bags)
At the end of the Meiji period (early 1900’s), a type of durable canvas bag emerged in Kyoto. With the increasing commonality of bicycles in the Taisho period which followed, demand for a kit bag which could be slung from a bicycle handle arose, and bags for workers at sake shops, milk shops, carpenters, and gardeners began to be created. From this point, bags were made by cutting thick pieces of canvas one at a time and sewing them together with a sewing machine. Everything, including things like attachment of metal fittings, is done by hand. Colors, patterns, and styles have led to new bags in keeping with the times, but the rejection of compromise on durability and usability is the same as ever.
Fushimi Ningyo (Fushimi Dolls)
South of Mt. Inariyama in the Higashiyama Peaks, there is an area of good-quality porcelain clay. It is said that clay dolls have been baked here since the 1st century, and that Fushimi dolls are from this lineage. Fushimi dolls are said to be ancestors to all of the more than 90 varieties of clay dolls in Japan, and they still maintain their uniquely Japanese beauty. There are more than 2,000 types, produced into dolls by creating the mold, creating the unvarnished version, applying varnish, baking, and then applying color. Even now the process is still done by one person, without dividing up the work.
Kyo Kashi (Japanese Sweets)
In Kyoto, which has had numerous shrines and temples since ancient times, “shinsen” sweets and “butsuzen” sweets were used as offerings. The “to-gashi” (Tang sweets) brought back by emissaries to Tang dynasty China evolved into “cha-no-yu-no-kashi” (cakes served with tea). Though the basic types of Kyo kashi are “namagashi”, “hannamagashi”, and “higashi”, depending on their use and origin, Kyo kashi can also be classified into other categories. For example, there are the “giten-gashi” used in festivals and ceremonial occasions, the “kisetsu-gashi” enjoyed each season, the namagashi and higashi used in tea ceremonies, and the gift sweets used as souvenirs by tourists and locals. Kyo kashi are handmade, the meticulously attentive techniques for producing them being passed down from person to person.
Kyo Tsukemono (Kyoto-style Pickles)
Kyoto-style pickles have a long history, beginning more than 800 years ago. It is said that when the empress dowager Kenrei Tokuko, known from the Tale of the Heike, was living in seclusion in Ohara-no-Sato, villagers presented her with spring vegetables pickled with perilla to cheer her up. There are a variety of types of Kyoto-style pickles, but for all of them ingredients from Kyoto are used wherever possible, a unique handmade flavor is produced, and time as well as great care is taken in production using traditional techniques.
Kyo Ryouri (Kyoto-style Cuisine)
The origins of Kyoto-style cuisine include styles such as the “Yusoku cuisine” of the nobility, the “Honzen cuisine” of the warrior class, the “Shojin cuisine” derived from the preparation methods of temples, and the “Kaiseki cuisine” which developed along with the Japanese tea ceremony. These various styles became linked as a system, and then fused together, with 1200 years of dynasties becoming the foundation from which today’s Kyoto-style cuisine emerged. Kyoto-style cuisine is defined as cuisine which is tasted with the five senses (visual beauty, fragrance, deliciousness, touch, and mind).
Japanese to English: For Drastic Revision of the Constitutional Revision Procedures General field: Social Sciences Detailed field: Government / Politics
Source text - Japanese 日本国憲法を改正するには、国民投票による承認が必要と定められています（憲法９６条）。しかし、国民投票の具体的方法については、特に決められていませんでした。
そこで、自民・公明の与党は２００６年５月２６日、「日本国憲法の改正手続に関する法律案」を衆議院に提出し、民主党も同日、「日本国憲法の改正及び国政における重要な問題に係る案件の発議手続及び国民投票に関する法律案」を衆議院に提出しました。
Translation - English To reform the Japanese constitution, it is ruled that approval must be obtained via public poll (Article 96). However, concerning a concrete method of carrying out this public poll, nothing in particular is established.
With that in mind, on May 26, 2006, the LDP and Komeito government parties submitted the “Bill Concerning Procedures in Reform of the Japanese Constitution” to the lower house, and that same day the DP also submitted the “Bill Concerning Constitutional Reform, Proposal Methods Connected with Critical Political Issues, and Public Polling” to the lower house.
However, in the various proposals submitted by the government parties and the DP, there were serious problem points.
With that in mind, on August 22 and December 1 of 2006, the Japan Federation of Bar Associations assembled opinions on the various matters and presented them.
In a 2006 extraordinary parliament session, in the Special Constitutional Investigation Committee in the lower house, deliberation was held concerning the bills submitted by the government parties and the DP. JFBA members attended as specialists and were included in activities toward realizing the intent of the written opinions. Then, on December 14, 2006, the government party and the DP, using the parliamentary deliberations as a basis, presented a summary of the proposed amendment.
Afterwards, on March 27, 2007, the government party submitted an even more revised proposal. On April 13 it was passed in the lower house, and on May 14 it was approved by the House of Councillors and became law.
Having not undergone wide public debate and having been passed with critical problem points remaining uneliminated, it is hoped that drastic corrections will be made before implementation.
Japanese to English: KAO Conflicts of Interest General field: Law/Patents Detailed field: Cosmetics, Beauty
Source text - Japanese 5. 【利害の対立の許可・届出】
利害の対立の事実またはその可能性がある場合（下記の事項に該当すると思われるとき）は、すみやかに所属の部門長を経由してコンプライアンス委員会事務局へ文書により届け出てください。自己が恣意的でないことの透明性を保ち、安心して職場で働けるようにしましょう。
Translation - English 5. Permission and Notification of Conflicts of Interest
When a real or possible conflict of interest exists (matching any of the conditions below), immediately make a written submission to the compliance committee office through your department chief. We must maintain transparency regarding our lack of arbitrariness on a personal level in order to continue to be able to work without worry.
When any of the conditions below are fulfilled, immediately submit the form at the end of this document to the compliance committee office through your department chief, or apply for permission.
1. When personally involved in competing business.
(1) When providing information, services, samples, etc. to competitors.
(2) When having an employer/employee relationship with a competitor, or acting as an executive or consultant to a competitor.
(3) When selling competing products or services for profit.2. When relatives etc. are in a competing business and the Employee is involved.
3. Becoming a business partner of Kao.
4. When taking on work as an employee, executive, or consultant for a Kao business partner.
5. Items concerning personal investment
(1) When the personal investment is targeted at a publicly-traded business partner or competitor and could affect decision-making at said company/competitor.
(2) When the personal investment is targeted at an unlisted business partner or competitor.
6. Obeying Guidelines
These guidelines are rules determining how each person should respond when conflicts of interest appear between the individual and the company. We expect these guidelines to be understood and obeyed.
In case of any uncertainties regarding submissions or applications for permission, the KOMPASS Compliance Hotline is available to discuss such concerns. In addition, be aware that major infractions of these guidelines may result in punitive measures as set forth by work regulations.
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Experience
Years of experience: 16. Registered at ProZ.com: Aug 2009.
Background: I've lived in Japan for 4.5 years and have obtained the top level of the Japanese Language Proficiency Test. I am a professional translator who now works freelance, mostly for Japanese TV stations such as NHK.
Experience: I have been working in Tokyo as a professional translator in various industries for 2 years. I have part-time experience before that numbering about 3 years, for a total of about 5 years.
Fields: These days I primarily translate television scripts, but I have also done full-time translation for a medical equipment manufacturer and a management consulting firm. The travel industry, government, politics, and national security are also very familiar to me. Human topics and informal conversation are also strong points. I have sufficient background knowledge in other fields listed to enable me to direct my research into proper terminology.
When translating from English into Japanese, I have a native speaker to assist me with accurate rendition.
Expertise