媒体内容本土化前景广阔,译员和配音员需求增加

Media content localizationacross Europe, Middle East and Africa (EMEA) is expected to increase from USD2bn this year to USD 2.5bn before 2020, according to research conducted onbehalf of the Media & Entertainment Services Alliance (MESA) Europe.

据欧洲媒体与娱乐服务联盟(MESA)调查,预计到2020年,欧洲、中东和非洲的媒体内容本地化将从今年的20亿美元增长到25亿美元。

According to MESA, mediacontent localization involves preparing TV, film and video titles ready forglobal distribution. Jim Bottoms, MESA Europe’s Executive Director, told Slatorthe market is covers subtitling, dubbing, video localization, and access services.Dubbing currently accounts for 70% of total spending, according to the MESAEurope report.

据MESA显示,媒体内容本地化包括预销往全球的电视、影视片头制作。 MESA欧洲执行董事Jim Bottoms告诉Slator,媒体内容本地化市场包括配字幕、配音、视频本地化和访问服务。据MESA欧洲报道,配音目前占总支出的70%。

​“There is a huge demand forcontent,” says Bottoms. “Some of it is new release, but a lot of it is iscatalog or stuff that they thought would never sell again.”

“人们对媒体内容的需求很大,”Bottoms说。 “一些是新发布的内容,但也有很多都是他们不会再出售的。”

Back catalog TV series andmovie titles are finding new outlets and a new audience in regions where theyhaven’t been seen previously, as they are licensed by foreign channels toinclude in their programming to appeal to a particular demographic or agegroup.

一些电视剧和电影在之前没有发掘过的地方寻找新的销售渠道和观众,因为他们经国外授权得以在节目中吸引特定的观众或年龄人群。

“So, the program makers aresuddenly finding that not only is there a huge demand for new release titles togo out to more and more markets. There is also a demand for getting some oftheir catalog product localized,” shares Bottoms.

“所以节目组制作人迅速明白新发布的内容不仅需要更广阔的市场,还需要一些本地化的产品,“Bottoms说道。

MESA Europe noted that thestrong growth in channels is also driven in part by so called over-the-topplayers OTT (i.e. content delivered over the Internet), which has opened upmore opportunities for program makers to sell their titles into new markets.

欧洲MESA指出,销售渠道迅速增加的原因部分来源于所谓的OTT服务(即通过互联网提供的服务),这为节目制作人将影片销售到新市场提供了更多的机会。

Netflix, for one, ended theyear 2016 with 93 million users, delivering about 150 million hours ofstreaming video per day. This was a year after the company announced the globalrollout of its streaming service to 130 countries, which was previouslyavailable only in select countries. Amazon, meanwhile, made its Prime Videoavailable in 200 countries in December 2016, competing head on with Netflix.

截至2016年,网飞公司已拥有9300万用户,每天上传约1.5亿小时的流媒体视频。一年前,该公司称,流媒体服务将面向全球推广至130个国家,而以前其仅向特定国家/地区提供。同时,亚马逊于2016年12月在200个国家推出了即时视频与网飞公司相竞争。

With the fast growing globaldemand for content, a shortage of talent has become one of the industry’s biggestchallenges.

“Given the way the market isgrowing, there are already capacity shortages and this is likely to get worsein the short term,” explains Bottoms.

Of course, dubbing has beendone for decades, but the current shortfall in talent is because of the massivegrowth as well as an indication that new talent isn’t coming through. AsBottoms points out, “In Germany in particular, the concern is that the talentis aging and perhaps younger people aren’t coming into the sector for whateverreason.”

随着全球对媒体内容的需求越来越大,人才短缺已成为行业面临的最大挑战之一。

“市场在不断地发展,而人才缺失在短期内的情况可能会越来越糟糕”,Bottoms解释道。

当然,配音工作已进行了数十年,但目前人才短缺是由于媒体内容的迅速增长,同时也意味着是新人才未来的任务艰巨。正如Bottom所指出的,“尤其在德国,人们担心人才老龄化问题日趋严重,而年轻人或许无论如何也不会从事该行业。”

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