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Sure, that’s how it works in Japan, but it doesn’t have to be that way for all anime releases in the west. That’s another thing that bothers me work on a show being carried out an a per-episode basis, and then touching things up for the final home video release. Time enough to do what needs to be done, sure, but time enough to do all that one wants to do to the best of one’s ability? Too late to worry now ship what you’ve got to the next person in the assembly line because you have other tasks that need your attention. Only so much time to check for mistakes, to retry takes, to experiment with different audio effects and lines of dialogue. So each division has only so many days (if a day at all) to carry out their tasks, with some maybe getting to focus on one show and others probably more than one. The article also admiringly, with a dash of impressed disbelief, points out that FUNImation has sixteen shows advertised as ‘simuldubs’ (more often quasi=simuldubs than true simuldubs, meaning episodes release a few weeks after JP releases) right now, made possible (ish) due to their large production team. (This has a good chance of delaying the episode release multiple times this year I recall seeing dub watchers frustrated over pushbacks of ‘simuldub’ episodes due to ‘production delays.) Sometimes the Japanese team is unable to send all materials at once (I think BnHA’s “all materials” at once setup is uncommon, and even BnHA had simuldub issues), leaving the English team uneven hours or days to work with. This process is also outlined in this ANN article, which I think highlights just how rapid-fire assembly-line the process is and how dependent simuldubs are on everything running like clockwork. The talent coordinator then comes up with a recording schedule, summoning the necessary VAs for recording meanwhile, the mix engineers have around a ‘day’ to tinker with the sound files. FUNimation recently shared a behind-the-scenes look at “ How SimulDubs Are Made” using Boku no Hero Academia as its example anime in order to have a true simuldub (released on same day as Japan), they typically receive “all the materials” for BnHA episodes two weeks in advance (but not always).Īs Colleen Carroll observes around timestamp 1:35, they thus “have a really tight window for all of production to happen.” The video outlines the materials’ typical chain of custody as follows: materials manager –> (direct) translation manager –> adapted (ADR) script supervisor + timecoder.
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Simuldubs have crazy time and production constraints, and I do think that has an inherent negative impact on some level. A simuldub of Baccano! could very well reach ‘good’ or ‘really good’ - which I acknowledged my original post (I thought? Maybe i wasn’t clear, whoops) - but as good as it could have otherwise been? I don’t think so, and that’s the trouble. With that said, I agree that some FUNImation’s simuldubs surely are ‘good’ to ‘really good’.Įven so, it seems to me that the quality of simuldubs tends to cap around ‘really good’, and therein lies the rub.
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I should confess that I’m someone who generally prefers the original Japanese to English dubbing the vast majority of the time, and yes - that’s in part due to the fact that I find a large portion of dubs mediocre to ‘fine’. (Anon’s ask is a response to this post, in which I said I would Baccano! dubbed but not simuldubbed were it ever to receive a new anime adaptation.)