An Overview- Second Edition
The book also features course models on voice-over which can be used as a source of inspiration by trainers willing to include this transfer mode in their courses. A global survey on voice-over in which both practitioners and academics express their opinions and a commented bibliography on voice-over complete this study. Each chapter includes exercises which both lecturers and students can find useful.
4. Voice-over for production 111
4. Voice-over for production The previous chapter dealt with translations which are done in the postproduction stage of the preparation of an audiovisual product, that is, once the programme has actually been created. While in the post- production stage the audiovisual text is a finished product, the produc- tion stage usually deals with rough footage, different takes, unedited texts and, in general, materials which are still drafts. Hence, voice-over transla- tions for production deal with unedited material – rough footage – which will go through many processes and changes before it is edited, voiced and broadcast. For this reason, the approach to this chapter is different from the previous chapter. While for postproduction translators are able to work from a final text – audiovisual and written – to be translated, for production translators find themselves confronted with a number of possibilities, which are reflected by the approaches to the translators’ work- ing practices and the translations. Translators may have at their disposal only excerpts from the original sent to be translated and which will sub- sequently be used and shown in the final programme. On some occa- sions, when an interview is performed through an interpreter, it may be that the target text (TT) produced by the interpreter is the same text that is used for the voice-over,47 but in such cases there is no work for the translator. All these features and variables will be described in this chapter us- ing a selection of examples taken from authentic materials. The focus will...
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