Dubbing Video
Gerarda Zmuda
Outside the film industry, the term "dubbing" commonly refers to the replacement of the actor's voices with those of different performers speaking another language, which is called "revoicing" in the film industry.[1][further explanation needed] The term "dubbing" is only used when talking about replacing a previous voice, usually in another language. When a voice is created from scratch for animations, the term "original voice" is always used because, in some cases, these media are partially finished before the voice is implemented. The voice work would still be part of the creation process, thus being considered the official voice.
Films, videos, and sometimes video games are often dubbed into the local language of a foreign market. In foreign distribution, dubbing is common in theatrically released films, television films, television series, cartoons, anime and telenovelas.[6]
In many countries dubbing was adopted, at least in part, for political reasons. In authoritarian states such as Fascist Italy and Francoist Spain, dubbing could be used to enforce particular ideological agendas, excising negative references to the nation and its leaders and promoting standardised national languages at the expense of local dialects and minority languages. In post-Nazi Germany, dubbing was used to downplay events in the country's recent past, as in the case of the dub of Alfred Hitchcock's Notorious, where the Nazi organisation upon which the film's plot centres was changed to a drug smuggling enterprise.[7] First post-WWII movie dub was Konstantin Zaslonov (1949) dubbed from Russian into the Czech language.[8] In Western Europe after World War II, dubbing was attractive to many film producers as it helped to enable co-production between companies in different countries, in turn allowing them to pool resources and benefit from financial support from multiple governments. Use of dubbing meant that multi-national casts could be assembled and were able to use their preferred language for their performances, with appropriate post-production dubs being carried out before distributing versions of the film in the appropriate language for each territory.[7]
Automated dialogue replacement (ADR) is the process of re-recording dialogue by the original actor (or a replacement actor) after the filming process to improve audio quality or make changes to the originally scripted dialog. In the early days of talkies, a loop of film would be cut and spliced together for each of the scenes that needed to be rerecorded, then one-by-one the loops would be loaded onto a projector. For each scene the loop would be played over and over while the voice actor performed the lines trying to synchronize them to the filmed performance. This was known as "looping" or a "looping session". Loading and reloading the film loops while the talent and recording crew stood by was a tedious process. Later, video tape and then digital technology replaced the film loops and the process became known as automated dialogue replacement (ADR).[10][11]
In conventional film production, a production sound mixer records dialogue during filming. During post-production, a supervising sound editor, or ADR supervisor, reviews all of the dialogue in the film and decides which lines must be re-recorded. ADR is recorded during an ADR session, which takes place in a specialized sound studio. Multiple takes are recorded and the most suitable take becomes the final version, or portions of multiple takes may be edited together.[12] The ADR process does not always take place in a post-production studio. The process may be recorded on location, with mobile equipment. ADR can also be recorded without showing the actor the image they must match, but by having them listen to the performance, since some actors[who?] believe that watching themselves act can degrade subsequent performances. The director may be present during ADR, or alternatively, they may leave it up to a trusted sound editor, an ADR specialist, and the performers.
As of 2020,[update] the automated process includes sophisticated techniques including automatically displaying lines on-screen for the talent, automated cues, shifting the audio track for accurate synchronization, and time-fitting algorithms for stretching or compressing portions of a spoken line. There is even software that can sort out spoken words from ambient sounds in the original filmed soundtrack and detect the peaks of the dialog and automatically time-fit the new dubbed performance to the original to create perfect synchronization.[13]
Sometimes, an actor other than the original actor is used during ADR. One famous example is the Star Wars character Darth Vader, portrayed by David Prowse; in post-production, James Earl Jones dubbed the voice of Vader.[14]In India, the process is simply known as "dubbing", while in the UK, it is also called "post-synchronization" or "post-sync". The insertion of voice actor performances for animation, such as computer generated imagery or animated cartoons, is often referred to as ADR although it generally does not replace existing dialogue.
However, the preparation of a rythmo band is a time-consuming process involving a series of specialists organized in a production line. This has prevented the technique from being more widely adopted, but software emulations of rythmo band technology overcome the disadvantages of the traditional rythmo band process and significantly reduce the time needed to prepare a dubbing session.[citation needed]
Sometimes the translator performs all five tasks. In other cases, the translator just submits a rough translation and a dialogue writer does the rest. However, the language expertise of translator and dialog writing is different; translators must be proficient in the source language, while dialog writers must be proficient in the target language.
Another task of dialogue writers is to check whether a translation matches an on-screen character's mouth movements or not, by reading aloud simultaneously with the character. The dialogue writer often stays in the recording setting with the actors or the voice talents, to ensure that the dialogue is being spoken in the way that it was written to be, and to avoid any ambiguity in the way the dialogue is to be read (focusing on emphasis, intonation, pronunciation, articulation, pronouncing foreign words correctly, etc.). The overall goal is to make sure the script creates the illusion of authenticity of the spoken language. A successful localization product is one that feels like the original character is speaking the target language. Therefore, in the localization process, the position of the dialogue writing or song writing is extremely important.
Localization is the practice of adapting a film or television series from one region of the world for another. In contrast to pure translation, localization encompasses adapting the content to suit the target audience. For example, culture-specific references may be replaced and footage may be removed or added.[17]
Dub localization is a contentious issue in cinephilia among aficionados of foreign filmmaking and television programs, particularly anime fans. While some localization is virtually inevitable in translation, the controversy surrounding how much localization is "too much" is often discussed in such communities, especially when the final dub product is significantly different from the original. Some fans frown on any extensive localization, while others expect it, and to varying degrees, appreciate it.
The new voice track is usually spoken by a voice actor. In many countries, actors who regularly perform this duty remain little-known, with the exception of particular circles (such as anime fandom) or when their voices have become synonymous with roles or actors whose voices they usually dub. In the United States, many of these voice artists may employ pseudonyms or go uncredited due to Screen Actors Guild regulations or the desire to dissociate themselves from the role.[18]
In Algeria, Morocco, and Tunisia, most foreign movies (especially Hollywood productions) are shown dubbed in French. These movies are usually imported directly from French film distributors. The choice of movies dubbed into French can be explained by the widespread use of the French language. Another important factor is that local theaters and private media companies do not dub in local languages in order to avoid high costs, but also because of the lack of both expertise and demand.[citation needed]
Beginning in the 1980s, dubbed series and movies for children in Modern Standard Arabic became a popular choice among most TV channels, cinemas and VHS/DVD stores. However, dubbed films are still imported, and dubbing is performed in the Levant countries with a strong tradition of dubbing (mainly Syria, Lebanon and Jordan). Egypt was the first Arab country in charge of dubbing Disney movies in 1975 and used to do it exclusively in Egyptian Arabic rather than Modern Standard Arabic until 2011, and since then many other companies started dubbing their productions in this dialect. Beginning with Encanto, Disney movies are now dubbed in both dialects.[19]
In the Arabic-speaking countries, children's shows (mainly cartoons & kids sitcoms) are dubbed in Arabic, or Arabic subtitles are used. The only exception was telenovelas dubbed in Standard Arabic, or dialects, but also Turkish series, most notably Gmş, in Syrian Arabic.[20]
In Tunisia, the Tunisia National Television (TNT), the public broadcaster of Tunisia, is not allowed to show any content in any language other than Arabic, which forces it to broadcast only dubbed content (this restriction was recently removed for commercials). During the 1970s and 1980s, TNT (known as ERTT at the time) started dubbing famous cartoons in Tunisian and Standard Arabic. However, in the private sector, television channels are not subject to the language rule.[citation needed]
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