PORTLAND, Ore.—Iyuno, a global provider of media localization services, is using Dante AV video to transport video streams throughout their production studios.

Based in Burbank, Calif. lyuno specializes in translation, dubbing, subtitling, and voice-over services for a wide array of entertainment content. The company helps major studios, streaming platforms, broadcasters, and production companies bring their films, television shows, video games, and other media to international audiences by providing culturally relevant and high-quality language solutions in more than 80 languages.

Iyuno’s 52,000 square foot facility features 10 recording studios, four Dolby Atmos mixing stages, a large format theatrical mix stage, multiple QC suites, and advanced video and audio editing stations. Iyuno was already using Dante for audio transmission and routing and wanted to find a complementary low-latency video transmission platform to simplify their workflows.

“One of the overarching goals for the facility was to increase our capabilities while also affording us the most flexible solution for delivering audio and video in a secure environment,” said Nate Green, Technical Manager at Iyuno’s Burbank facility. “With Dante audio being delivered via low latency over segregated IP networks, we recognized that a video solution that worked alongside the same infrastructure would provide multiple benefits. With Dante as the audio foundation, adding Dante AV video seemed logical, but it had to deliver flexible, reliable, and synchronized performance. After an exhaustive evaluation, we determined Dante AV video was the right choice for us.”

Dante AV video is a family of hardware and software solutions that enable manufacturers and end users to easily integrate networked video into the Dante platform. It provides interoperability between manufacturers while keeping discovery, configuration, and control to a single platform for all audio and video endpoints and is designed to run on standard 1GbE networks alongside Dante audio devices.

Iyuno selected Bolin’s D20H Dante AV Ultra transceivers to transmit video to its Voice Over (VO) and Automated Dialogue Replacement (ADR) studios. Source videos in their original language are fed from a central AV server to a recording room via the D20 transceivers, where a VO artist dubs them in the desired target language, precisely in sync with the character's actions on screen.

Another design goal for the facility was to enhance client-centric services while providing engineers with maximum flexibility to support simultaneous and accurate video distribution solutions. Dante AV can route a specific video feed to a client’s viewing position or enable complex workflows that allow multiple performers in different studios to collaborate using the same frame-accurate video source through multicast feeds to decoders.

MAIDENHEAD, UK—RWS has hired Michael Wayne as its head of media and entertainment in Los Angeles where he will lead the company’s media localization business which includes AI dubbing, subtitling and end-to-end content adaptation.

“We’re truly excited to have such an industry pioneer and trailblazer join the team,” said Ben Faes, CEO of RWS. “His combination of creative vision and commercial acumen will supercharge our media localization capabilities and position RWS at the very forefront of this rapidly evolving industry.” 

The company reported that his appointment is part of the company’s push to transform the future of AI-powered media localization. 

Before joining RWS, Michael served as chief commercial officer at Papercup, whose groundbreaking AI dubbing technology, which is capable of accurately capturing a speaker’s tone, pace and emotion, was acquired by RWS earlier in 2025.  

“I’m joining RWS at an exciting moment when demand for media localization services has never been higher,” said Wayne. “And with RWS’s leading AI technology and unmatched human expertise, we have a real opportunity to shape the industry and help organizations reach global audiences faster, more efficiently and with even greater impact.” 

Michael is also the co-founder of Kin Community, a lifestyle media platform serving diverse women’s audiences. He has also held senior leadership and strategic roles at Sony Pictures Entertainment, ABC Television and LAUNCH Media, a digital music media company acquired by Yahoo! in 2001.  

A recognized AI thought leader, Michael is also host of The AI Hero Show and board chair of the Artificial Intelligence Los Angeles Community, a nonprofit organization supporting the science, technology, engineering, arts and mathematics communities of Greater Los Angeles. 

LOS ANGELES—The Africa Channel (TAC) said it has launched TAC Labs, a newly created technology unit to provide low-cost AI-powered solutions to help publishers and content creators open up new markets with affordable dubbing and provide streamers and other distribution companies cost-effective tools to handle their media operations.

These tools offer intelligent ad placement, image curation and manipulation, as well as content abstraction and metadata generation to enhance discoverability, audience engagement and monetization, among many other capabilities.

“In our quest to deliver on our mission to make African content and stories accessible globally—while thriving as an independent company with limited resources in an increasingly consolidated landscape—our team has continued to innovate and do more with less,” The Africa Channel chief operating officer Narendra Reddy said. “As we continued to develop and refine AI-enabled tools to optimize and streamline our own post production and broadcasting processes, we began to see a demand and interest in our tools and services by third parties, which led to the genesis of TAC Labs.”

Founded 20 years ago as a traditional cable network, The Africa Channel has since expanded to include streaming channels, a production studio and an advertising network and has consistently invested in the latest technologies to automate and streamline its media workflows.

Upon launch, TAC Labs has already secured revenue-generating SaaS deals for these tools and the company is actively working with strategic partners to further automate and refine them.

TAC Labs tools now available include:

• DubMaster: High-quality dubbing, captioning and subtitling into multiple languages. It revolutionizes content localization by combining cost-effectiveness, emotional authenticity and scalability. Designed to preserve the integrity of original performances, DubMaster enables creators and distributors to seamlessly expand their global reach.
• SmartBreakAI: Intelligent ad placement that selects the best ad break opportunities for optimal viewer engagement, via context-aware recommendations, optimized placements and enhanced monetization with minimal viewer disruption.
• ImageIQ: Automated thumbnail selection tool that optimizes visual appeal and content discoverability, driving higher click-through rates and improved viewer engagement.
• StoryFlow: Automated summarization tool efficiently generates engaging, concise synopses and descriptions, ideal for managing extensive content libraries and enhancing viewer engagement.
• TagStream: Keyword generation and metadata creation to enhance discoverability, featuring SEO-friendly tagging, streamlined cataloging and improved platform visibility

“TAC Labs represents our bold vision to revolutionize how global content reaches audiences,” said Chris Eckman, head of TAC Labs and senior vice president of operations and OTT services at The Africa Channel. “We’re not just improving media operations—we’re completely transforming them.”

Eckman emphasized TAC’s AI solutions empower networks and distributors to break through traditional barriers, dramatically cutting costs while expanding global reach.

“This launch marks just the beginning of our journey,” he said. “As we refine these solutions, we’re creating a future where compelling stories from Africa and beyond can captivate viewers worldwide without the prohibitive costs and complexity that have limited distribution in the past. We're changing more than workflows, we’re shaping the future of global entertainment.”

More information is available here.

TEL AVIV—Deepdub, a provider of AI-based audiovisual dubbing and language localization services, has announced it is working with Reshet 13, one of Israel's leading broadcasters.

As part of the deal, Reshet will utilize the Deepdub GO Platform to dub its news items, starting with Spanish and English. 

With the AI platform’s ability to preserve authenticity by maintaining its reporters’ original voices and brand authority, Reshet will be able to quickly upload localized news content onto its newly created YouTube FAST channel, the companies said. 

“Reshet’s groundbreaking collaboration with us using the Deepdub Go Platform marks a significant milestone,” Deepdub CEO Ofir Krakowski stated. “It enables Reshet to rapidly deliver its news content globally, ensuring it resonates deeply and authentically far beyond what auto-generated subtitles can offer. With this pioneering AI technology, Reshet can tell stories in a uniquely engaging way, making them accessible to a worldwide audience like never before.”

“We are excited about this collaboration with Deepdub,” said Reshet CEO Emiliano Calemzuk. “This amazing new technology expands our potential worldwide news audience and, for the very first time, enables us to create an engaging, immersive viewer experience that can be released quickly and efficiently in multiple major languages.”

He added that “Reshet will be  expanding our AI dubbing into more languages in the near future, ensuring broader global reach and engagement. Additionally, we plan to launch a startup program in Israel by the end of the year to foster further innovation.”

Deepdub’s proprietary AI technology – emotional Text to Speech (eTTS™) – and many of its other robust features were developed for the entertainment industry. The AI/dubbing solutions provider has collaborated with Hollywood studios on dozens of film and TV projects, including shows currently streaming on Hulu and Amazon Prime. With Deepdub Go, the company provides content creators and production companies with high-quality and scalable video localization, the company said. 

Deepdub GO is also available as an API, enabling integration into existing tools and automated workflows, and includes such necessary features including automatic transcription, translation, voice generation and audio mixing.

TEL AVIV—The AI-based audiovisual dubbing and language localization provider Deepdub has announced its Voice Artist Royalty Program to compensate voice talent for the use of their voices in AI-powered dubbing, voice cloning, and other synthetic voice projects. 

The launch comes at a time of increasing concern in the creative community about the use of AI in the entertainment industry. The use of AI was a major issue in the recent Hollywood strikes and the voice-acting community has long expressed concerns around the usage of their recordings in AI and  voice cloning projects, without proper consent and compensation. 

In announcing the launch of its royalty program, which Deepdub is billing as a first-of-its-kind, the company said that the program would enable talent to be compensated for each use of  their voice in an AI-powered production. 

The program is open to professional voice artists, who  are required to submit a sample of their voice. Once approved, they are added to Deepdub’s voice marketplace and their vocal profile becomes available for use in audio-visual productions.

Deepdub also stressed that the program ensures that artists are compensated each and every time their voice is selected for  use in a project. This model presents a continual revenue stream, allowing voice artists to profit from their voice across a diverse array of projects. 

"At Deepdub, we want to ensure voice talent are rightfully rewarded for their artistry and skill,"  said Ofir Krakowski, CEO and co-founder of Deepdub. "Our Voice Artist Royalty Program  enables performers to tap into the expanding world of AI voice tech in an ethical, mutually  beneficial way." 

“AI holds tremendous promise for the entertainment industry and is fundamentally changing how content is created and distributed,” said Emiliano Calemzuk, chairman of Deepdub’s advisory  board and former President of Fox Television Studios. “However, it’s critical that artists aren’t  left behind in this transformation, and that people in all positions within the industry benefit from AI. Deepdub’s Voice Artist Royalty Program is a watershed moment for the ethical adoption of AI in entertainment. This initiative paves a sustainable path for artists to continue to work alongside AI, and to be fairly compensated for their unique skills and abilities.” 

Deepdub has collaborated with Hollywood studios and other content owners on dozens of film  and television projects, including shows that are currently streaming on Hulu and Amazon  Prime. 

The company was the first AI solution to obtain TPN certification from the Motion Picture Association for work on pre-release content.

BURBANK, Calif.—The content localization and distribution services provider Pixelogic has announced that it has reached an agreement to acquire Korean dubbing studio Juice Media.

The acquisition enhances Pixelogic’s existing operation in Korea that provides subtitling and media services, by adding dubbing and audio capabilities. 

Established in 2008, Juice Media is an provider of dubbing and audio services, with clients that include U.S. studios, streaming platforms and local content distributors. The company operates from two locations with 4 ADR rooms and 3 audio mix rooms and is TPN certified.

“The acquisition of Juice Media represents our ongoing commitment to address capacity challenges facing our customers in key markets” said Holger Hendel, Managing director EMEA for Pixelogic. “By leveraging our operational expertise, proprietary technology and partnership with experienced local subject matter experts, our goal is to increase Korean dubbing capacity with streamlined solutions that deliver higher quality and faster time to market.”

Doug Higgins, senior vice president of global dubbing and audio services for Pixelogic added that “this is a significant step for us in the Korean market, where we see an opportunity to address our customers’ needs. This facility, along with the existing dubbing operations of our parent company Imagica in Tokyo, creates a strong foundation for our combined dubbing capabilities in the region.” 

Upon completion of the acquisition, Pixelogic plans to make additional investments in Korea including facility and capacity expansion and deployment of proprietary tools and technology.

The transaction is scheduled to close at the end of May.

Add dubbing for television shows, movies and other entertainment to the list of production workflows impacted by the COVID-19 pandemic.

Working in close proximity is verboten in the age of the virus, so the interaction between voice talent, sound engineers, directors and others in a dubbing studio presents significant challenges—so much so that at least one vendor is offering a new product to virtualize the process.

An email from Deluxe showed up in my in-box about the same time I finally had a chance to watch the season finale of “The Blacklist” on Netflix. The episode was a creative mix of live action shot before the virus brought production to a halt and comic-book-like animation to fill in the missing scenes.

The episode piqued my interest, which led me to finding an article about the production and lengths to which the actors had to go to record their dialog for the animation. That’s not to imply that Deluxe was involved, but the coincidence of my watching the episode and the email led to this Q&A with Chris Reynolds, executive vice president and general manager, Worldwide Localization, at Deluxe.

Deluxe has been offering One Dub, a cloud-based dubbing solution for the past several months. The product virtualizes the dubbing process, allowing talent and production crew to work safely from home while producing professional results.

In this interview, Reynolds talks about how the need to socially distance has impacted the dubbing workflow, the challenges that must be overcome, how standards are maintained while working from home and what One Dub is and does.

(An edited transcript.) 

TVTechnology: COVID-19 has prompted major workflow shake ups among M&E organizations. How has the need to social distance impacted dubbing? 

Chris Reynolds: The need to socially distance has had a major impact on dubbing. It’s commonplace in many countries to have voice actors in the same room as dubbing directors, sound engineers and others, and there are also group recording sessions that involve multiple voice actors working in very close proximity to each other. 

In addition to social distancing, there is a lot of shared equipment and surfaces between recording sessions and actors—microphones, headphones and desks. Dubbing is a very collaborative process and adapting it to keep everyone safe has required space and equipment modifications, as well as new cleaning procedures.
There have been other restrictions in place that make some processes impossible. For example, different areas have travel restrictions that can make it impossible for participants to get to the recording studio. In other cities and regions, there are capacity rules that prevent studios from being able to have multiple actors in the same room.

For all of these reasons, studios have had to partially or completely move to remote recording to keep dubbing moving along.

TVT: What are the biggest obstacles to remote dubbing workflow?

CR: There are a variety of obstacles. The No. 1 obstacle is enabling a collaborative recording experience when participants aren’t in the same facility or room but still need the same level of interaction and engagement. To create the same quality output, it’s important that the roles of voice actor, dubbing director, sound engineer, sound editor and others can be maintained to get the best performance and technical quality possible.

Then there are the technical challenges. These range from the acoustics of the physical environment that voice artists have to work in, to the availability and quality of the equipment they’re using to record, to the security requirements in place for the content they’re working on. Internet connectivity can be a factor depending on the software solution being used. 

TVT: How does Deluxe’s new One Dub address what’s needed to support voice actors and others who can’t come into the studio and must work from home?

CR: One Dub allows participants to continue to collaborate and fulfill their various roles through an easy-to-use, secure cloud-based software solution. 

Each participant can log into the virtual recording session with access to secure streaming video and script, full-quality uncompressed audio and near-instant ability to collaboratively edit and review each line and take. No software needs to be installed as it’s all browser-based. While it does require internet connectivity, it’s been optimized to work even when connection speeds are below the recommended requirements.

Our new Session Sync feature allows all participants to sync their browser to the sound engineer’s so he can control the transport, playback and recording functions for the voice actor and director. 

Once the recording session is complete, it enables easy export into formats supported by all industry-standard Digital Audio Workstations (DAWs).

TVT: One Dub is rather new. Has it begun to take hold among dubbing studios?

CR: More than 1,000 recording sessions have been completed on One Dub over the past four months. Many more are scheduled. The projects range from streaming originals on the industry’s leading SVOD platforms to broadcast series and even specific actors for theatrical feature films, so it’s very wide-ranging. We license the product to dubbing studios, and have users in over 14 countries across multiple languages. 

TVT: Do these folks generally have what it takes in terms of technology and a soundproof room to work from home? I’ve seen some interviews where actors doing voice work say they get into closets to do their parts in an acoustically acceptable environment.

CR: Very few voice actors have professional recording environments, but that’s not absolutely necessary to produce a satisfactory recording. It’s important to recognize that the dialog in original version content is not often recorded in controlled acoustic environments, so even in someone’s bedroom you can do some basic things like turning off ceiling fans, closing windows and hanging up blankets to dampen the sound enough that you can get a very controlled response through an appropriate microphone. Others use closets or record in vehicles parked in garages, as do many voice-over artists and podcasters all over the world.

There are products available that can wrap around a microphone to block out unwanted reflections and other sounds, and even boxes that can be put on a stand for an actor to stand up in and have their entire upper body surrounded by sound insulation. In practice, we’ve found that most people prefer the simpler solutions like hanging blankets or finding a quiet room or closet.

TVT: What’s the typical One Dub setup? Can multiple voice actors in a scene work together remotely? Is latency too great to allow that?

CR: The current version of One Dub only allows one person to be able to record themselves at a time, but that doesn’t prevent having multiple people involved in a session. As the system is based on AWS and syncs the audio to each user’s timeline directly after each line is recorded, the interaction isn’t completely dependent on the latency during the live recording itself. Everyone hears the performance as it's happening, but immediately after each line is recorded the full resolution audio is transmitted to each user’s session where they can immediately play back what was just recorded in sync to picture in their own browser. This can be controlled by each individual, or they can simply sync to the sound engineer who can control the transport and playback each line so everyone can see it in sync and make accurate judgments, just as is typically done in the recording studio.

We are working on being able to allow multiple people to record themselves into the same session simultaneously as opposed to one at a time, but that will be in a future release.

More information about One Dub is available on the company’s website. 

Today, content creators are increasingly looking to expand across geographies, but one of the biggest challenges they face is overcoming language barriers. Delivering content to non-native speakers is possible through captions and subtitles, or audio dubbing. Yet, quality control (QC) checks are imperative to ensure that everything flows smoothly. This article will examine why audio dubbing is better than providing subtitles, the key capabilities to look for in a QC system and how machine learning (ML) and artificial intelligence (AI) technologies are simplifying QC workflows for audio dubbing.

WHY AUDIO DUBBING MAKES SENSE VS. SUBTITLES

Subtitles are an easy and affordable way to deliver content to non-native speaking viewers, but they have limitations. For example, using subtitles, it can be difficult to deliver long dialogue scenes within limited screen times. Furthermore, subtitles can be distracting to viewers, since it makes them focus on the text vs. important details in the scene. Another reason why subtitles aren’t ideal is because they don’t express the emotions being delivered in the dialogue.

Audio dubbing to regional languages is an alternative option that translates a foreign language program into the audience's native language. Dubbed tracks are created by adding language-specific content to the original audio and have become a cost-effective solution for content creators to reach audiences in different areas of the world. When creating dubbed audio tracks, content creators must ensure high quality and synchronization with the video or original audio track.

HOW TO SIMPLIFY AUDIO DUBBING QC WORKFLOWS

Recent advancements in ML and AI technologies have simplified the way that content creators perform quality control on audio dubbed tracks, automating the process of verifying languages and assuring synchronization.

There are several key capabilities content creators should look for in an ML/AI-powered QC solution for dubbing workflows in order to ensure the utmost efficiency, accuracy and quality of experience for viewers.

One important feature is the ability to verify dubbing packages with complex structure. The QC solution should be able to verify complex dubbing packages. Oftentimes, a dubbing package consists of multiple MXF and .wav files as opposed to a single file. The MXF file contains video tracks along with original audio tracks and .wav files corresponding to multiple dubbed audio tracks. Sometimes .wav files represent individual channels of a 5.1 audio track, or there are multiple audio tracks or channels encapsulated in container formats instead of .wav files. The QC solution should be able to handle package variations and verify the multiple dubbed audio tracks properly.

For audio dubbing, metadata verification is a must-have capability in a media QC solution. The system needs to verify the number of audio tracks or the channel configuration of multiple dubbed tracks, along with the duration of the original audio track compared with the dubbed audio tracks.

Language identification is an integral component of a QC system to ensure that each track has the correct intended language. Over the years, machines have become more intelligent and computing power more affordable, making accurate, automated language detection a reality. If the content creator has access to a few hours of audio content in the target languages, they can be used to train the ML models for language prediction purposes. Content creators can then verify that the language is correct by checking it against metadata.

During the audio dubbing process, content creators must make sure synchronization between video and dubbed tracks exists. This can be challenging, as there is no way to map the correct audio sequence for any video screen with dialogue. However, the majority of video content contains black frames and color bars that are designed to help in meeting requirements like synchronization. The corresponding audio sequence for black frames and color bars is silence and test tone, respectively. Choosing a QC solution that can verify the presence of black frames in video tracks as well as silence while color bars appear with test tone in dubbed audio tracks is critical.

Synchronization must also be present between original and dubbed tracks. This is no easy feat since audio data in master and dubbed tracks are completely different. It’s likely that common background music or effects were not used for the master track and dubbed track. These can be separated from the audio track using mechanisms like band pass filter.

Checking for loss of synchronization between background beds of dubbed audio tracks and the original audio track can easily be performed by a QC system with ML and AI technology. The challenge is ensuring a proper separation of background bed from audio tracks. One way this can be achieved is by comparing loudness curves. The technology will compare loudness curves, checking for mismatch between loudness values of original and dubbed tracks.

CONCLUSION

Through audio dubbing, content creators can reach audiences all around the world, providing content in their local language without the limitations of subtitles. Automating QC dubbing workflows speeds up this process immensely, while also introducing increased accuracy. When ML and AI technologies are added to the workflow, dubbed packages can be created even more rapidly, with reduced manual intervention. It’s a win-win situation for content creators and viewers. Content creators can expand their brand into new regions of the world, and viewers are assured a high-quality television experience in their native language.

Niraj Sinha is the principal engineer at Interra Systems.