Doubling

The trade of adapter of doubling

Before the adaptation

The detecting is remunerated in wages; it is a contract worker (at least in France). It has as a support of work the band-mother , which will be used thereafter by the author. The band-mother makes all the artisanal side of the writing in doubling. She appears herself as a roller of glazed paper (white or blanchâtre) and measures 35mm width, like a film of cinema. The work of detection consists in registering on this tape, with the propelling pencil, the indications whose author will need. Among these indications appear the text (in the original language of the program to be adapted), the signs of detection, as well as other useful signs.

These “other signs” are on the one hand filmic indications: a vertical feature for a change of plan, in diagonal for the dissolves, etc In addition, the detector must indicate (by a vertical feature barred of a cross and associated with a number) the places where it estimates that there must be a change of loop. A buckles is a length of band which corresponds to time during which a actor can work without stopping: one minute on average. The detector numbers these loops, so that with the recording, the Sound engineer can easily pass from a point to the other of film while being based on the numbers of loops.

The signs of detection are registered just above the text, more precisely above the letters than they concern. The signs of detection indicate the presence of a consonant Labiale (B, P or M), of semi-labial (W), of fricative (F, V), of a round Voyelle (OR, O, U) or of an open vowel (has, E, I).

The detector registered on the tape the text said by the actors of the original version. It uses a table of doubling (or counts of detection) to synchronize the band-mother and the video cassette, in order to be able to retranscribe the dialogs in accordance with the speed to which they are known as: tight writing if the person speaks quickly, stretched writing if she speaks slowly. Once made detection, one can thus read the dialogs “places from there”, as they ravel on a “bar of precision”, exactly at the same time as they are said by the actors of the original version This synchronization will make it possible later the adapter, if it has a table, to check if its own counterparts are in place.

The detector is also charged to write the croisillé (in the form of table). It is an information source invaluable for the director of plate (see low), because appear in it the number and the names of the characters, and their importance in terms of many lines of dialogs.

The adaptation

In “traditional”

The adapter has three “elements”: file audio-visual (in the form of a cassette VHS or SVHS if he works on traditional video tape recorder, or of a bulkier cassette if he works on table), a script in original version and the band-mother detected.

If it does not have a table of doubling (very expensive), it works “flat”, i.e. with a traditional video tape recorder. That implies simply a comfort of work in less: the band should be unrolled manually to register its text there. Note: an author who has a table of doubling has thus average the techniques to make his own detection, if it wishes it.

Once it found the good counterpart, the adapter As far as possible registers it under the text in original version, the detector allotted to each character “his” line, always with the same height along the band, for the visual actor well-being. One can hardly register more than four lines of characters at the same time, under penalty of encumbering the band and to make it illegible. One writes with the propelling pencil in order to be able to modify the text where necessary.

It is not a question “simply” to find good a translation, which expresses the direction of the counterpart while being natural French . It is necessary also, so that the illusion is created, that this translation is synchronous with the movement of the lips of the actors to the screen. The adapter is helped with this intention of the signs of detection left by the detector. But they are only reference marks intended to facilitate the writing on the tape; the author trusts above all with the image to identify the difficulties of a counterpart. The synchronism is a true constraint, because it obliges to give up adaptations which one finds sometimes ideal, but which would be visually awkward and thus would decentralize the spectator. This one, to appreciate a program, must permanently keep the illusion which it looks at a program turned in French. Thus not question “of making say” to the French-speaking actor an open vowel to the moment when the actor with the screen with the closed mouth. Contrary, “Hi Dad! ” (no consonant) could thus almost never be translated by “Hello dad! ” (three labial).

Each adapter has its work method, but it seems that all test their counterparts while making ravel with the screen the wanted scene, very in “speaking above” (with its cut original or not, according to the preferences), until finding the counterpart suitable. This operation is repeated as much once than necessary.

There is thus for the adapter a true work of writing. It must have not only technical skills (concern of the synchronism combined with that of the most faithful possible translation), but also the talent and/or know-how necessary so that, in spite of these technical constraints, the text of arrival is most fluid and natural possible. Or else, one writes in perhaps synchronous but “wobbly” French, little naturalness.

In “virtual”

By “writing into virtual”, it is necessary to include/understand writing on numerical support. The band-mother, the propelling pencil and the gum, as well as television and the video tape recorder are replaced by a computer equipped with a software of doubling . Although the provision of the elements varies from one software to another, in general, in top on the right the window of the video image is, in top on the left the list of the counterparts of the characters and in lower part, over all the width of the screen, the band rythmo which ravels in a synchronous way compared to the sound and with the image.

Into virtual, one does not speak any more that of band rythmo because one removed the intermediate stage of the band-mother on whom detection, text original version and text V.F appear. This is possible thanks to the software which makes it possible to reveal and to disappear detection at will, as if it were registered on tracing paper.

It is possible that one asks the author to do itself the detection of the program to be adapted. For a 45mn, it is necessary to count approximately a day of detection. However this extra work of work is not inevitably a disadvantage. Indeed, the author can, as of the stage of detection, to proceed to a first outline of his text by impregnating original version, movements of mouth and rate/rhythm of the dialogs.

Detection is made possible by short cuts keyboard which vary from one software to another. The changes of plan and the loops are marked in the same way that into traditional.

Into virtual, the chain of doubling is thus truncated: only one and even nobody, the author, detects, written, penmanship (that is done automatically) and publishes script (= striking) and croisillé.

So in the future the virtual one had suddenly taken an important place in doubling, the detectors and calligraphers should recycle themselves. On the other hand, for the actors, the only difference is that into traditional, they read the manuscript writing of the calligrapher, whereas into virtual the text will appear as a police force of word processing.

Among the written forms of virtual synchronous dialogs, the system Cappella is currently freely downloadable.

After the adaptation

When the adaptation is finished, a checking takes place if the company of doubling asks it. This “vérif'” consists in making sure that the adaptation is appropriate for the directing of plate (also called director artistic , or D.A. ), which will choose the actors (except particular requirements of the distributer of a film, for example) and will direct them on the plate of recording. The checking is done on a table of doubling. While the author reads his text on the tape which ravels (and thus in turn the role of each actor plays), the D.A. concentrates on what he hears (i.e. the V.F read by the adapter, because the sound of the original version is cut) while looking at the program with the screen. He of course seeks to see whether the text is synchronous, but more especially if the adaptation is made in natural French. And if the author too often repeated a word or an expression, or if it introduced an inconsistency into the uses of the tu and uses of the vous, one makes the modifications necessary.

Once the adaptation received the downstream of the D.A., it is the calligrapher (or “calli”) which enters in scene. Just like the detector, the calligrapher is intermittent spectacle.

She is in charge of two work. Initially, it recopies the text of the author on a tape rythmo (with the indelible fountain pen), by superimposing this one with the band-mother. The band rythmo is transparent, which makes it possible the calligrapher to write directly over the text of the author. This transparency will also enable him to be projected with the screen. Of course, the original version having become useless, it is not retranscribed. It happens that the calligrapher contacts the author, because certain adapters have writings difficult to decipher.

Then, it carries out the work of “striking”. It is a question of retranscribing, using a data-processing software, the V.F which it has just recopied on the tape rythmo. Striking is submitted to the author, who can thus check that the calligrapher deciphered his writing and thus correctly retranscribed well the text. Striking will be very useful for the D.A., to have an idea of the intrigue of the episode or film and to know which actors it will choose.

It happens sometimes that the author attends the recording of his text by the actors. The recording can be one completely magic moment, because one sees his dialogs there taking life. The actors, just like the adapters, are illusionists. Thanks to their combined talents, one can believe that Sean Connery is expressed in French.

The Sound engineer has to him also a central role. First of all, it is him which makes the sound recordings, i.e. which records the actors of the V.F. At this stage, it takes care that all the characters speak on the same noise level. With less, of course, that one is supposed to whisper and the other to shout. It also makes sure that the text is understandable and that no noise of mouth comes to parasitize the text.

After the recording and to prepare the Mixing, the sound engineer can have to make assembly, i.e. to readjust (except for one or two images) the counterparts according to whether they were marked late or in advance compared to the original version Thus, one can correct an approximate synchronization which however did not justify that one re-records the passage. This is of course valid only for the telefilms or series TV. Indeed all the films which leave on big screen pass between the hands of a Monteur his which will readjust 70 to 100% of the sentences of film. Using an adequate software, it will modify the site of a word, a syllable even of a letter, about an half-image with several images, according to the precision of the adaptation and the accuracy of play of the actors. It is what makes the difference between a synchro " TV" and a synchro " Ciné" … These differences in the manner of proceeding can be partly explained by better work conditions - for example of better times, a more powerful material, the setting with contribution of a sound engineer more experienced - in a word thus, by financial means the more important.

Finally the mixing comes. With its exit, the French version will have to be perfect. The mixing is thus essential with the good quality of a doubling. It is a question for the sound engineer all of implementing so that the illusion is maintained and that the spectator does not doubt that the French text leaves the mouth of the character.

When designing program, a V.I. (international version) parallel to the mixing of the original version This one was elaborate is a mixing of environments, musics, sound effects and sound effects, without the voices. It is starting from this V.I that mixing V.F is possible. It consists in integrating the French voices in the V.I. The mixor thus finds himself with three elements: original version, the V.I and voices French.

The original version is the reference. The role of the sound engineer is to impregnate original mixing in order to carry out a V.F identical to the original version, by respect for the work of the realizer. It is there that the technician must work with the credibility of the dialogs: the counterparts do not sound in the same way if the character is in close-up, with the background or if it is behind a door. The sound engineer must reconstitute these sound nuances. In the same way, a counterpart pronounced in a cellar does not sound same manner in outside. It is consequently necessary to exploit the reverberation of the voices in various parts. The mixing becomes a true play when it is necessary to recreate effects of robotized voice, loudspeaker, etc Because, do not forget it, all these effects appeared on the original version and must be restored so that the spectator of the V.F enjoys it him too.

Who can become adapter?

To start, it is necessary to have solid knowledge in the source language (the language of the program to be adapted), to avoid making errors of comprehension. Because often of such errors are not detected at the time of the recording; the D.A. and the actors are seldom linguists and do not have in any event time to listen to the original version attentively the adapter has thus the responsibility not to deform the direction of the original text. A recorded error is for always. Because if a novel can be republished, with possible corrections, the doubling of a audio-visual program is seldom, except sometimes for editions in DVD of old films.

It is even more important to have a excellent control of the target language (French), or else one writes adaptations well not very imaginative, even faulty, since based on a poor vocabulary and/or an approximate grammar.

These two qualities are necessary to make a good translator . But to be adapter, small is needed more, the direction of the dialog , which will make that the V.F will be fluid and inventive while respecting the direction of the original version It is also necessary to be ready to spend on average an work hour per minute of program to be adapted, and to permanently undergo the frustration created by the concern of synchronism. Because if the fluidity and the naturalness of the V.F are paramount, it is necessary all the same to create the visual illusion, by synchronism. Lastly, it is necessary to have a temperament compatible with work in solo, of the work conditions become increasingly difficult these last years, and precariousness inherent in the statute of author.

Doubling or Subtitling?

It is a subject of debate without end for the film enthusiasts. Subtitling is appreciated spectators who want to hear the voices and the sound effects original, or which wants to be accustomed to hear a foreign language for learning best. It is true that doubling does not allow that. However, it has another advantage. Because as a fellow-member said it recently, “the subtitle takes as an hostage the attention of the spectator”. I.e. while this last bed subtitle, such a concise and formulated well is it, it does not look at the screen. Doubling, enables him to be plunged to hundred percent in the action. Of course, if it is poor, the film is wasted. What is not entirely the case when a subtitling is poor, because the spectator always has the possibility of listening to the original version.

It is seen, it does not exist “better” discipline than the other, each one having his qualities. It is not for only they for a long time coexist, appreciated each one rightly by the spectators.

Anecdotes and opinions

Contrary to a strongly spread idea, a lapping machine is not an actor who makes doubling but the manager of a company of doubling. That which doubles is an actor of doubling. One can say very short actor besides (after all, one seldom says actor of theater, actor of cinema, actor of sitcom, etc)

One always makes an effort when it is possible to make double the same actor consequently voice in order not to disorientate the spectateur' . The corollary is that the actor who manages to double a star rising ensures almost a secure income for the future.

As of the Years 1930, Jean Renoir estimates for its part that “doubling is an infamy”. With his usual humor, the actor Jacques François declares a few decades later: “Doubling should be liable to correctional. ” It will however do itself of it in a specific way. It in particular lent its voice to Laurence Olivier in the Shock of the Titans (1981).

With the whole beginning of the same years 1930, after the appearance of speaking, when a film must be exploited on linguistically different markets, one proceeds to as many simultaneous turnings, generally with the same engineering team: once a turned scene, the team of actor for a language yields the place in the same decoration to the team of another language…

One thus could count, in 1930, to eight simultaneous linguistic versions for same film: the Secrecy of the doctor / The Doctor' S Secret in English, French, Spanish, Italian, Swedish, Czech, Hungarian and Polish, and seven for All its life / Sarah and Her in English, French, Spanish, Italian, Portuguese, Swedish and Polish.

Si in their films Laurel and Hardy has a English accent, it is that in their first films they wanted to double themselves. Thereafter, the public being accustomed to their accents, those were preserved.

Curiously, the actors seem selected not for the similarity of their voices with the original high-speed motorboats (which are difficult to appreciate on file!), but for their… physical resemblance (stature, then possibly… face!) with them, which does not have anything to however see; it makes however easier to fall on a consensus. When the series the prisoner was diffused at the same time in VO and VF by the cable, many French televiewers were surprised that the voice of Patrick McGoohan does not have absolutely anything commun run with that of the actor doubling it.

the names of the actors ensuring doubling, seldom famous, are indicated to the credits only since 1995, year when strike of doubling was organized so that is granted to these people a greater recognition.

the draftsman Georges Wolinski has several times expressed in its drawings its dissatisfaction to hear in the majority of films without true high-speed motorboats the same voices often return for the doubling of completely different actors , which creates according to him a faintness. Difficult indeed to hear in a series the king Richard III speak with the voice which we associate to the lieutenant Columbo .

With regard to films of anglophone origin, the French translations being a little longer than the source sentences English, for reasons of grammar (morphology), one often observes in the versions doubled of the characters to cut the word , to speak , or at the same time to start to answer a question before the interlocutor finished posing it . This characteristic is particularly clear in the VF of film of Richard Lester Help! with Beatles (which rather quickly spoke already themselves). This defect is one of the factors which push certain spectators to avoid the doubled versions of films of anglophone origin.

But it is not the case for all films. The French versions are sometimes the work of true literary authors, as it was the case with Noblesse obliges , with the dialogs written by the future academician André Maurois. Luc Besson, as for him, always writes itself the English and French dialogs of its films made in English.

One notices as often as the texts of the dialogs do not correspond always exactly to those of the subtitles .

That takes sometimes a turning cocasse. In a British film on the life of the Marquis de Sade, this one holds in French the short following dialog: (- Shit! - What C you say? - Shit! I said Shit!) who becomes in the subtitles of the VO: “- M…! - What known as you? - M…! I say M…! ”, although the word is obviously pronounced in the doubled version.

the film Chantons under the rain presents one cocasse - and fictitious - invention of doubling to the cinema.

In certain countries of Eastern Europe, many fictions are not doubled in the same way. An actor reads texts with high voice (" He says that…, she answers him that, etc) over the original version. Even if that is due much to the fact that the source language is with difficulty doublable, one nevertheless obtains a true massacre of the fiction, to which the VOST is definitely preferable.

Associated vocabulary

rythmographic Band : bandage calligraphiée ravelling under the screen and whose text is in perfect synchronism with the movements of lip of the characters.

Lapping machine : company of doubling; leader of this company. (The term lapping machine does not apply to the actors which makes doubling.)

VFF (French French-speaking version) or VVF (true French version, although this is a Abus language): French-speaking doubling carried out in France.

VFQ (Québécois French-speaking version): French-speaking doubling carried out with the Quebec. Not to confuse with the VQ (Québécois version), also called Joual, where the accent is marked as well as the typical expressions of Quebec " tabarnak - câlisse".

VFB (Belgian French-speaking version): French-speaking doubling carried out in Belgium.

Voxographie : list the doublings carried out by an actor.

Voxophile : nobody who is interested in doubling.

Voxophilie : the fact of being interested in doubling.

Actors specialized in French-speaking doubling

See also: : Category: Actor specialized in doubling

Actresses specialized in French-speaking doubling

See also: : Category: Actress specialized in doubling

External bonds

Association of the Translators/Adapters of Audio-visual (ATAA) the Professional association created in 2006. It gathers authors of subtitling, doubling and voice-over, as well as adapters of subtitling for deaf persons and deaf people.
Re-examined traductology Meta, number devoted to the audio-visual translation
a semiolinguistic study of the translation to audio-visual - doctoral Thesis
Doubleurs.com: The actors lapping machines of Quebec
Cappella: The virtual rythmographic band: A software of writing of dialog of doubling in free remote loading

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