Some fifteen years ago when the traditional rythmo band was still in use, the only real way to learn about dubbing was to intern at a dubbing studio - sometimes for free - just to get acquainted with the forbiddingly expensive equipment. Today it is relatively easy and affordable to acquire the necessary equipment and to set up a dubbing room. It is however important to note that while the time needed to become familiar with the tools is rather short, the craft of dubbing has changed little since its inception and requires real hands-on experience to learn it properly. The process is very interactive and requires people skills, patience, and adaptability.
The idea behind dubbing is a simple one: to create the illusion that there has been no translation at all [11]; to “get into” the show. What is most noticeable to viewers is the quality of synchronisation between what is seen and what is heard, and good synchronization - as we have seen above - is the result of a long collective effort that does not come cheaply.
Different types of productions require different treatment depending on their budgets, and can be roughly broken down into three categories. At the top are the theatrical releases, which dispose of larger budgets and sometimes involve local star talent. In second place are shows commissioned by national broadcasters and local networks, and movies going straight to DVD. At the very bottom with slimmest budgets are shows that are independently produced.
Since quality is inextricably linked to budget, independent films may meet with a less favourable reception than they deserve because they can not afford quality dubbing. For this reason indie films often opt for subtitles instead, which the typical indie viewer finds more appealing anyway.
There are different rules to mediate the interaction between studios and actors depending on what country you are in. I certain areas there is no dubbing actor’s union and studios are under no obligation to observe specific pay rates or work hours. Germany, on the other hand, has a long history of dubbing dating as far back as the earliest sound films [12][13]. There, dubbing is considered to be an integral part of the national film industry. Here in Québec, dubbing actors must be members of the Union Des Artistes which protects their interests, negotiates pay rates, and regulates the work to be done on a given show [14].
At the present time shrinking budgets are causing even the opulent distribution companies to shop around for deals with dubbing studios, and many of the once integral steps of the dubbing process are dropped to accommodate new budgets. The sale of a show has typically already been secured by the time it enters the recording studio. Also by that time, most of the preparatory work has been done. Since studios, actors, and the director cost the most, the recording session is where time mismanagement can become a problem, and so a good preparation and a well-established work-flow are the only ways to avoid an unnecessary waste of resources. The problem is that the dubbing industry, like the film industry in general, is rooted in an archaic corporate model in which efficiency, quality, education, and ability, are low on the list of priorities in favour of a union-regulated pecking order and apprenticeship-based professional development. While traditional, apprenticeship-based development suffers when technology develops at a pace quicker than those who are supposed to provide the training can keep up with.
Smaller studios without union affiliation can afford to be more mobile and efficient, but on the other hand do not dispose of as many resources. The dubbing biz, at least the part that concerns the official international versioning of commercial films, is a perfectly closed system and in spite of technological improvements and inexpensive modern equipment remains a tightly controlled industry. Mention about Avatar and box office stats