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Answerman - Funny Story About That Simulcast...

Of course doing voices for hentai and ecchi means you don't want your name associated with porn, which is understandable, especially if you're also working in children's entertainment. Heck, some even do this because it might jeopardize their non-entertainment jobs. It's understandable.

Zorro is the Spanish name of the male Vulpes vulpes (Red Fox), Zorra for the vixen. Unless Disney can trademark a Spanish word used to describe a species, I don't think that there's a copyright issue based on the name.

song lyrics maybe

SAG is quite well known for their controversial "Global Rule One," which bars their members from working in non-union environments. This made it especially difficult for voice actors who had entered the voice acting business through anime (like Steve Blum and Crispin Freeman) to reprise some of their old roles, as most anime dubbing projects are considered non-union. Needless to say, the Global Rule One is one of the main reasons that there is limited work for their members and some of them even had to work in non-union shops under a pseudonym to work around this rule.

There is an out, however. Under current US labor law (not just Hollywood unions) an individual can claim "financial core" status. This requires the individual to pay union dues, and allows them full union protection on union jobs, but does not obligate them to honor the union's bylaws (such as the aforementioned "Global Rule One"). Mentioning this to a SAG diehard however is a bad idea, and they've routinely put out notices about how "fi-core" will eventually be the end of organized labor as we know it.

Hameyadea wrote:

Zorro is the Spanish name of the male Vulpes vulpes (Red Fox), Zorra for the vixen. Unless Disney can trademark a Spanish word used to describe a species, I don't think that there's a copyright issue based on the name.

https://en.wikipedia.org/wiki/Zorro#Copyright_and_trademark_disputes

In convoluted matters such as copyrights and trademarks, it doesn't matter what people think. What matters is if ya think your lawyers can beat the other lawyers in court.

They use the same tools such as Aegisub, x264 and others. Internal container format for CR's webplayer, is similar to Matroska, for they too need soft subs for multiple language tracks and typesetting capabilities. In fact Google's WebM format is based on MKV.

If a song is used for an anime (particularly in the case of songs by anime-specific labels like King/Star Child/Lantis/Flying Dog/5pb), licensing of it for overseas markets including lyrics for subtitles should be automatic and not an all-too-often neglected afterthought.

As someone else mentioned, some things can be translated/rights secured in advance and OP/ED/INS songs are written and recorded well before they are used in an anime, often on anime-specific labels.

Leaving off OP/ED/INS song lyrics on official subs leaves one short changed on release that claims to include English subtitles.

configspace wrote:

They use the same tools such as Aegisub, x264 and others. Internal container format for CR's webplayer, is similar to Matroska, for they too need soft subs for multiple language tracks and typesetting capabilities. In fact Google's WebM format is based on MKV.

If so, they must've forgotten about the Timing Post-Processor, since CR's subs are always full of timing flashes, scene bleeds, and similar errors that no self-respecting fansubber would let slide.

but this is the thing, producing the US version should have nothing to do with the Japanese air dates. Fansubbers need to worry about that since they need to rip the show off the TV, but the US version should be done and ready for broadcast at least a day early, and most of the work should be done days, or even weeks earlier than that. At most if the final video raws come in a bit late they might have to rush to time out the script that they've already finished, throw it into the encoding processes for final distribution, and send it off to get final approval.

I can get why US distributors wouldn't get the finished episodes until right before air, but why couldn't they have the scripts weeks in advance?

One thing is having a registered trademark for a type of horse... but I think that's pretty different from doing the same to an animal in specific. Because "zorro" is not only used for red foxes, but for all foxes as well.

The world must be going into a pretty weird direction if suddenly a company can buy the rights for the word "fox". Oh wait...

Justin didn't mention this, so I'll chime in...

In most cases translators do get a script. At the start, they might get it "weeks" in advance, but later in production it will be much less in advance. Typically 4~10 days in advance.

They'll either get the original script, or the afureko script (after recording).

The afureko script is the most helpful. The final recording will differ from the original script as certain decisions will be made during the recording process. Lines will be changed by the director, or ad-libbed by the actor.

While the afureko script is more useful, it obviously can't be provided until after the recording session.

Regardless of which script is received, the translator always has to compare it to the final recording when they get it. Even the afureko script might have mistakes in it...