Translating into French is only half the work. The text is set in Latin, reads left to right, and runs 15 to 20 per cent longer than English — so a layout built for English has to change, not just its words. The production problem is specific: French takes non-breaking spaces before certain punctuation, and Canadian French differs from European French in vocabulary, anglicism tolerance and legal terminology. We translate with native French translators, then typeset the result properly, which is why the file you receive can go to press rather than back to the drawing board.
Production-ready output in the format your printer, platform or workshop actually needs — press PDF, editable source, CAD file, font binary or deck, as the work requires.
The working files, not just the export, so your team can change the work later without coming back to us.
Copyright transfers to you on final payment. Nothing we make for you is resold or reused elsewhere.
Included in the quoted price. Corrections are logged against the draft rather than argued over on a call.
You tell us what the finished thing has to do, and send whatever material you already have.
A written scope, a fixed figure and a delivery date, usually within one working day.
You sign off the architecture before production starts, so nothing large is built on a wrong assumption.
Work arrives in stages as it finishes, not all at the end, with two revision rounds included.
Files, sources and rights in your hands, and the invoice closed.
A translator drafts, a second native speaker reviews, and a typesetter sets the result in the target script. Those are three people, not one, because the errors each catches are different: a translator will not notice a clipped vowel sign, and a typesetter cannot judge register.
Because writers, translators, designers and typesetters sit in the same building in Chennai, a translated document can be commissioned with everything around it: the figures redrawn with translated labels, the layout adapted for the new text length, subtitles cut to the same script, and the press-ready files. One schedule, one point of contact, one invoice.
Priced per word of English source and fixed in writing before work starts. Terminology is locked in a glossary you approve. Two revision rounds are included, and on final payment you own the translation, the editable files and the rights.
Every French translation is written by a native speaker and checked by a second. Machine output is not used as a draft, because the errors it makes are the ones hardest to see in a script you cannot read.
Latin, set left to right. French takes non-breaking spaces before certain punctuation, and Canadian French differs from European French in vocabulary, anglicism tolerance and legal terminology.
The text runs 15 to 20 per cent longer than English. Tables, captions, buttons and column widths are adjusted for that at the layout stage rather than being solved by cutting the translation short.
We use fonts with proper shaping for Latin and licensed for commercial print and embedding, so your printer and your PDF both behave.
Technical and brand terms are locked in a bilingual glossary before volume work begins, so the same term is not translated three ways across a long document.
Typically EU and Canadian government documents, legal and technical translation, and African francophone markets. Certification and notarisation are arranged where the receiving authority requires them.
Priced per word from the English source, so you know the cost before we start. Documents, books, legal and technical material, subtitles, websites and app strings. Certified translation with a signed statement of accuracy is available where an authority requires it.
No. Every French translation is written by a native translator and reviewed by a second. We will say so on the certificate where one is issued.
Yes, and this is where most translation goes wrong. French takes non-breaking spaces before certain punctuation, and Canadian French differs from European French in vocabulary, anglicism tolerance and legal terminology. We handle it as part of the work.
The text runs 15 to 20 per cent longer than English, so we adjust the layout rather than truncate the translation. If the design cannot flex, we will tell you before starting.
Yes, with a signed statement of accuracy on letterhead. Notarisation and apostille are arranged where the receiving authority asks for them.
Per word of English source text, quoted and fixed in writing before work begins.
Prices are fixed in writing before work begins. Scope, language count and turnaround move the figure; volume across a programme brings it down. Send the brief and you have a number within a working day.
Most single deliverables run three to fourteen weeks depending on length and complexity. Programmes are staged so early parts reach you while later parts are still in production. You get a date with the quote.
A specialist from our school & college course books team, with an editor and a production person on the same project. Everyone is bound by the same confidentiality terms.
Yes. Full copyright transfer, editable sources and production-ready files on final payment. Nothing is resold or reused.
Yes — any of a hundred-plus languages, typeset in the same studio so layout and page numbers match across editions.
Yes. Publishers, institutions and founders in the United States, United Kingdom, United Arab Emirates, Canada, Australia and Japan. Work is delivered by email and shared drive and quoted in US dollars.






Send the brief and we reply with a scope, a fixed price and a date — usually within one working day. Whole programmes are quoted the same way as single titles.
info@contentfactory.in · contentfactory14@gmail.com · Chennai, Tamil Nadu, India
Journal feed: rss.xml