Picture locked · Sound in progress
WooblaDub is a dubbing workspace. You rebuild the dialogue and nothing else — the picture is never re-rendered, and the music, effects and ambience of the original scene stay underneath it.
Nooooo!
Neeein!
Directionsustained panic, collapsing at the end
All 6 lines #
Thirteen seconds of Tears of Steel, English into German. Six lines, two characters, one argument. Music, effects and room tone are the original recording in both versions; only the dialogue was rebuilt.
A dub is not a translation. It is a second performance, and someone has to direct it. #
This is a working environment, not a button. You cast the voices, shape the reading and adjust the line against picture. The machine does the labour; the judgement stays with you. We are in evaluation with launch partners, and no language route has passed a locked-media review yet — the Languages page says which ones are close.
A multilingual dubbing production workspace. Dialogue is rendered through a voice provider account you connect — a licensed stock voice, or one you hold the rights to. The adaptation, casting, direction and approval stay with you. Picture-immutable by default.
An instant video translator. A face-regeneration product. A voice-model owner. An unattended one-click output.
Locked cut to delivery, in six passes. #
§ 02 — The workflow### Bring in the cut
Video, screenplay, SRT or transcript. The timeline is built from what you already have.
Adapt the dialogue
Translate, then rewrite for mouth and rhythm. Source, gloss and adaptation on one screen.
Cast the voices
One voice per character across a whole title. Casts bind to characters, so they survive a season.
Direct the take
Quieter. Further back in the room. Slower. You write the note a director would give.
Review and approve
A-B the original against the dub anywhere on the timeline. Every decision keeps its history.
Deliver the record
Final video, stems, cue sheets, subtitles and the QA record a distributor asks for.
Three things get called dubbing. #
§ 03 — The comparison| Automated translator | Visual dubbing | WooblaDub | | |---|---|---|---| | The picture | Untouched | Re-rendered to fit the new dialogue | Untouched, and checksummed | | Music, effects, room tone | Usually flattened into one track | Preserved | Preserved, provenance recorded | | Changing one line | The whole output regenerates | The whole output regenerates | That cue reruns | | How you direct it | A prompt | A prompt | A note, cue by cue | | Whose voice models | The vendor's | The vendor's | Yours, in your own account | | What you receive | A finished file | A finished file | Stems, script, cue sheet, QA record |
The performer decides. The editor is accountable. #
§ 04 — Consent & rightsThere is no mechanism in WooblaDub that would let us own, resell or clone a voice, because we never hold one.
We do not own voice models
You connect your own provider account. Consent stays inside the agreement you already hold.
We do not train on your material
Your material produces your dub. It does not improve output for anyone else.
No performer is synthesised without agreement
Where a provider holds a performer’s consent, that provider stays the record of it.
An editor of record signs the work
Every approval carries a name and a date. Since 2 August 2026 the EU AI Act has expected someone to be identifiable as responsible for a synthesised performance. That is the same person.
Your project leaves with its production files. #
No black box. Everything the dub was made of leaves with you, in the formats a mixer and a QC house already use.
A different scene, English into Spanish. Every element you can hear other than the dialogue shipped in the package as its own stem.
Launch focus · film, episodic and vertical drama
Launch focus · European film and television
Launch focus · feature and episodic
Available after language and voice review
Priced per project, from one scene to a full title. #
§ 06 — Access### Per project
One scene, one episode or a full title. No subscription.
- Editor and revision history
- Production files included
- Storage billed separately
Priority production
Faster queues, series continuity, deeper delivery controls.
-
Shared casts and glossaries
-
Team review and approvals
-
Priority processing
-
DAW-ready interchange
The questions that come up first. #
Access opens in stages. Create an account, tell us what you are dubbing, and we will set the room up around it.
Whose voices are these? #
Yours to choose. Dialogue is rendered through a speech provider account you connect, so the voice is either a licensed one from that provider's pool or one you hold the rights to and bring yourself. WooblaDub never owns or holds a voice model. What is human in every case is the adaptation, the casting, the direction of each reading and the approval — each carrying the name of the person who made it.
Do you change the actors' faces, and how does lip sync work without that? #
No, and by writing to the mouth rather than changing it. Adaptation is timed against the source speaking window and the visible articulation, which is the constraint a dubbing adapter has always worked inside. Source and output video stream hashes ship with every delivery, so that the picture was untouched is checkable rather than promised. Products that reanimate the performer's face solve it the other way, and on a tight close-up they solve it better — that is a different product with different consent questions.
Whose voice is being cloned? #
None, unless you bring one and the rights to it. The default is a stock voice from your provider's licensed pool. We do not own or sell voice models, and we will not synthesise a performer who has not agreed to it — the digital-replica terms your production is bound by are the terms this workflow runs inside.
What happens when I change one line? #
Only the affected cue reruns, along with whatever depends on it. The revision graph shows what changed and what stayed.
Is the M&E reconstructed? #
If you supply one, it passes through untouched and is recorded as supplied. If you don't, we separate one and label it a reconstruction, and the reconstruction has to prove itself: the separated dialogue and background must sum back to the original mix, channel by channel, above a published fidelity threshold. That is not the same thing as a filled M&E: where footsteps and cloth are buried in the dialogue, recovering them is a foley session, not a processing step.