“For example, the Danish learn English in Elementary school, English is a second language in those markets,” said Carey. In Northern Europe, specifically Scandinavian countries, the decision to not dub is equally practical. France, Spain, Germany and Italy are the four markets where the consumer demands and expects dubbing. In Europe, where Hollywood has been distributing films for decades, the decision to dub is in many cases well established. The Decision to Dub Depends on Individual Country’s Film CultureĮach country and culture is different. The sound engineering and mixing are also key components - the more the dubbed voices sound like they were naturally recorded on location, and blend into the soundtrack, the less noticeable the dub voices will be. Carey said it is a steep learning curve for actors and directors without dubbing experience and often takes significantly longer (and more money) to get a good dub. Getting a good performance that syncs up to the film requires experienced performers and directors. “I then need to bring in 12 actors into a studio, record them, direct them, edit it, mix it.” That’s going to have a cost,” said Carey. “I need one linguist to sit in a room and do the translation. What makes a good dub is both a creative and technical process requiring talent and time – the usual turn around is six to 12 weeks for a dub of a feature-length movie. The industry standard is that dubbing will cost 10 times as much a subtitling, and often more. A Good Dub Costs (at Least) 10x a Subtitle So there is some timing for subtitling, but it’s a very different art and criteria for how you do that adaptation.”Ģ. “Then we’re only worried about how many words can fit on a screen, how long do the words need to stay on the screen so an average person can read it before the next one comes up. “When we create the subtitle, we don’t have to worry about lip flap sync, so we’ll do, in many cases, a more literal translation,” said Carey. Even the best possible dub with live action actors is going to be noticeable, but the closer the words and mouths match up over a consistent stretch of time, the better chance the viewer will move past the dubbing and become involved in the story. In other words, having some level of lip sync is important. “We may adapt a script less literally for the dub so that the words in tend to sync more closely with the amount of syllables and lip movement that the actor has.” “The linguistic adaptation is different, because when I’m doing a dub, I need the script adaptation to take into account lip flap and visible sync,” said Carey. A Different Script for DubbingĪ script from the film or TV series is used as the same starting point for both subtitling and dubbing, but the work flow quickly diverges as the art of each process is quite a bit different. Here are seven important take aways to understand the world of localization, and why dubbing could become a growing part of our diet, as Carey sees it. He also led revenue and business development at Verizon as it built the video streaming networks still used today. As CTO of Technicolor, he led the company to become a major player in the post world when its film business was disappearing, before taking over technical operations at Paramount. Wes Anderson's Favorite Movies: 35 Films the Auteur Wants You to SeeĮmmy Predictions: Best Actress in a Comedy Series - The Smart Money's on SmartĬarey was part of the team that helped Disney digitize in the ’90s and ride the DVD wave that followed. There’s been momentum throughout the winter, we’ve seen it, and ‘Parasite’ was just one of a thousand data points of why.”īong Joon Ho Hopes 'Parasite' Series Is 'Great Genius,' Eyes 2025 or Later for Animated Filmīong Joon Ho to Direct First Animated Movie, a Korean-Language Deep Sea Adventure “Just the fact ‘Parasite’ was nominated and had gotten so much buzz increased the level of dialogue and discussion. “Generally, our market is on the upswing, in terms of attention, dialogue, business potential, and growth,” said Carey.
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