This is an ADLAB PRO video.
ADLAB PRO is a project funded by the European Union.
This video is made available to you on a Creative Commons licence.
Hello. I’m Anna Matamala, from UAB, and in this ADLAB PRO video
I will explain what voice-over is. This is Unit 2 "Voice-over"
in Module 5 "Additional services".
When working as a describer, you may have to write ADs
for original productions: an AD in English for an English film.
However, you may also have to create ADs for content originally produced
in another language and then translated using subtitles,
voice-over or dubbing. Let’s talk about voice-over.
It is used to revoice fiction in Eastern European countries
Poland, Bulgaria, Russia, etc.,
and to revoice non-fictional content in many more. For example,
in Spain fiction has traditionally been dubbed, but non-fiction
is generally voiced-over. The map on screen shows the distribution
of the so-called dubbing, subtitling and voice-over countries in Europe.
The key feature of voice-over is that you hear a voice
on top of the original voice. Don’t get confused
if someone uses the term “voice-over”
to refer to an off-screen narrator: this is Film Studies terminology,
different from Translation Studies terminology.
In voice-over there are three types of synchronies:
voice-over synchrony, action synchrony and kinetic synchrony.
When creating a voice-over, the starting point
is an original audiovisual content that needs to be translated.
A professional produces a written translation, which is read aloud,
generally by a voice talent, and superimposed on the soundtrack.
Oral language is often rephrased in the process
to fit in the space available and to make it more understandable.
Hesitations, false starts or repetitions are often deleted.
It is not a live interpreting, although the effect is similar:
a voice on top of a voice. It is not a subtitling,
although in certain language pairs there is some content reduction.
And it is not a dubbing because there is no lip synch.
A voice-over is generally recorded by a voice with a neutral accent
and a flat intonation, although it is in the process of changing.
Just have a look at Spanish voiced-over reality shows.
Sometimes there is only one voice for all the characters,
for example, Polish TV voice-over.
Sometimes there is a male and a female voice talent,
for example, Lithuanian voice-over of TV films.
And sometimes there is one voice talent per character,
as in Spanish documentaries.
Depending on whether the voice-over is created in a production
or post-production process, the work involved will be different.
In production, translators generally work without a script.
As a describer, it is important that you are aware of the main features
of voice-over and how they may affect your work,
especially in terms of synchronisation.
This was just a short introduction. You may want to read the book
“Voice-over translation: an overview” to learn a bit more.
The preparation of this presentation
was supported by ADLAB PRO. Audio Description:
A Laboratory for the Development of a New Professional Profile
financed by the European Union under the Erasmus+ Programme,
Key Action 2, Strategic Partnerships.
Project number:
2016-1-IT02-KA203-024311.
The information and views set out in this presentation
are those of the authors and do not necessarily reflect
the official opinion of the European Union.
Neither the European Union institutions and bodies
nor any person acting on their behalf
may be held responsible for the use
which may be made of the information contained therein.
This was an ADLAB PRO video.
ADLAB PRO partners are: University of Trieste,
Universitat Autònoma de Barcelona,
University of Antwerp, Adam Mickiewicz University,
RTV Slovenia, Utopian Voices,
Soundfocus and Royal National Institute of Blind People.
ADLAB PRO was funded by the European Union.
This video was made available to you on a Creative Commons licence.