Issue link: https://digital.copcomm.com/i/1546135
48 FA L L 2 0 2 6 I C A S Q U A R T E R L Y However, for some projects, the directors are the ones directly in charge of casting. Directors who have been doing this for a long time know a lot of the voice actors— there are a lot of regulars," explains Nicholas. The adapters are the scriptwriters that take the direct translation of all the dialogue lines and adapt them into the new language, considering cultural aspects for specific terms or expressions and semantics. They are also responsible for the synchronization of each syllable to ensure lip sync. They use systems to identify the plosives and closed consonants, to ensure these are properly synchronized, as these are the letters and sounds that have the most impact on perceived lip sync. Producers analyze the project carefully to put directors and adapters on the same page "so that when we get into the recording stage, everything is right—this is the right currency, this is the right number, this is the right name, this is how you spell it. So it is important to coordinate all of that, and your project manager is the key to that. Once everything's written, your director watches the show, everyone's caught up on the show, then you're ready to go into recording," he adds. Then there is the other side of the process—the audio. Here, dialogue mixers or recordists are in charge of recording the adapted dialogue on the stage, and usually the takes are selected at this point. The recordings are then passed onto the editors who ensure that sync is correct. They tidy up the fades, clean noise or any inconsistencies, and make sure every character is on their corresponding track, and the session is ready to be mixed. Then the re-recording mixer takes the dialogue plus any assets like M&E, stems, or the original session, and performs the mix—more on this later. The final step is QC, where they make sure that the localized version effectively replicates the intentions and technical Nicholas Fluhr