SCRIPT ADAPTER: NICHOLAS CORDA

“Good adaptation is honestly a kind of sorcery, because as you keep watching, you begin to forget that it’s a dub!”‍

As global audiences immerse themselves in TV shows and movies from diverse linguistic origins, the trend of opting for dubbed versions is on the rise. Many viewers find it challenging to fully engage with subtitled content, whether due to divided attention or difficulties in reading speed. This preference for dubbed material extends to younger audiences and those not entirely fluent in the original language.

However, producing high-quality dubbed content entails a meticulous process. It commences with the translation of the original script but requires additional steps, starting with script adaptation. Direct translations often fail to capture the nuances of on-screen performances or synchronize with lip movements, necessitating careful adaptation for each line.

Script adaptation is a refined craft, demanding both linguistic skill and technical precision. Recognizing the growing demand for dubbed content, VoiceQ Writer software emerges as a crucial tool, streamlining and enhancing the adaptation process. According to New York-based script adapter Nicolas Corda, this advancement is essential as the popularity of dubbed content continues to soar, placing greater pressure on producers and adapters to ensure script quality.

In essence, the surge in viewership preference for dubbed content underscores the importance of investing time and effort into script adaptation. As audiences worldwide embrace diverse narratives, the need for high-caliber dubbed versions becomes increasingly pronounced, highlighting the significance of innovative tools like VoiceQ Writer in meeting this demand.

Tell us little about yourself including where are you based and how you became an Adaptor

“Nicholas Corda here! I’m an actor and writer based out of New York City, and I became an adapter after working as a voice actor on various dubbing projects. After quickly falling in love with dubbing as a whole, I wanted to cultivate my passion even further by participating in the writing step of this particular post-production process!”

What is adaptation and has it evolved during your career?

“Adaptation is the art of taking the translated script of a film or series and seamlessly transforming it into another language, both while preserving the colloquial meaning of the project’s original text, and matching up the new dialogue with the timing and shape of the lip flap (bilabial). Ideally, when consuming any dubbed content, you’d want to be able to flip back and forth between the dub and the original language version, and not miss any key story beats or dramatic nuances. Good adaptation is honestly a kind of sorcery, because as you keep watching, you begin to forget that it’s a dub!”

“In terms of how the art form itself has evolved, I think as the popularity of dubs increases across viewership, it puts an even greater demand on producers and adapters to put more time and care into the scripts. Which translates to better performances, an easier job for the voice director, and ultimately a more fulfilling re-telling of any given project’s story. More people are watching dubs now than ever before - which is always a great sign for the ecosystem of the industry at large!”

What’s the most interesting project you’ve worked on and why?

“Working on Hulu’s The Files of Young Kindaichi with Iyuno, effectively both a detective show, and a live-action anime series, was a special treat. To help localize this live-action Gen-Z incarnation of Hajime, given the history of the character and the series itself, while also preserving that classic Kindaichi spirit, was such a fun balance to try and strike. That being said, my co-adapters and I didn’t want to go too far! 

One of my absolute favorite aspects of the show was Hajime’s relationship with Inspector Kenmochi, who’d enlist the young detective in his various investigations, right? So every episode, the aloof Kindaichi would tease his hapless mentor with a playful “Ossan おっさん” or “Old Man,” before explaining the killer-of-the-week’s motive in perfect detail. 

Now, if we were really taking liberties, we might’ve adapted “Ossan” as “Boomer,” but that neither made sense with the history of the show, as “old man” is a nickname Hajime calls Kenmochi in most incarnations of the story, nor fit with the shape of the bilabial. Instances like “Ossan” are where I believe restraint better suits the flow and needs of the script, allowing for other opportunities to adapt colloquialisms into the dialogue in a way that doesn’t take the viewer out of the story.” 

What are main technology platforms you use for adaptation 

“VoiceQ is my main technolog platform. I learned adaptation the old-fashioned way, and while I also appreciate that method of working, VoiceQ really streamlines tracking dialogue and reacts throughout any project. I worked on this fascinating project once that was written much like a Chekhov play, with multiple scenes happening concurrently - which made it a super intensive, almost granular process when it came to adapting. 

I can’t imagine the amount of time it would’ve added to my writing schedule to have to manually note all the timecodes for the Off-Screen lines and reacts throughout the film. VoiceQ allowed me to efficiently spot and track every last one of these additional loops, which made my job all the more easier!”

How did you come across VoiceQ technology?

“After discovering that a lot of post-production studios were using it as a means to manage and adapt their projects, I decided to learn VoiceQ, and I’ve been using the platform ever since. It’s honestly made all the difference.”

‍Where does VoiceQ provide the most workflow value?

“VoiceQ absolutely makes it easier to track characters and loop counts, especially when going between episodes when working on a series. And when you’re filtering for one specific character, or even organizing a film or TV episode by scenes, it makes everything much more accessible and manageable, when looking at an entire workflow.”