Recover a usable M&E
Where no stem exists, dialogue separation reconstructs a music-and-effects bed from the full mix, making unlocalizable titles viable.
For filmmakers & studios
Traditional dubbing costs are why the majority of film and television libraries have never been localized beyond a handful of territories. Octavia changes what is economic — which mostly means it changes what gets released at all.
The specific reasons this content usually stays in one language.
Titles that would sell in a dozen territories sit undistributed because per-language dubbing never paid back.
Older and independent titles frequently lack a music-and-effects track, which historically ended the conversation.
A dubbing schedule measured in months does not fit a streaming window measured in weeks.
The parts of the platform that matter for this work, rather than the full feature list.
Where no stem exists, dialogue separation reconstructs a music-and-effects bed from the full mix, making unlocalizable titles viable.
Diarization keeps each character on a distinct voice, so ensemble scenes remain followable.
One master, every language you have distribution for, including the long-tail markets no studio would fund individually.
Process an entire library rather than negotiating a title at a time.
Reading-speed, line-length and timing rules applied at generation, not remediated at QC.
Transcript and translation are editable and approvable before any audio is generated.
Four steps from the file you already have to every language you need.
With an M&E stem where you have one; separation covers the titles where you do not.
Review the transcript and translation before generation — the cheapest point to fix anything.
Assign a voice per character, held consistent across every episode in a series.
Loudness, channel layout and subtitle format matched to each platform.
One upload in, every format you need to publish out.
Including the ones where the honest answer is a limitation.
Honestly, no — and we would rather say so. Premium scripted drama where the dub is itself a creative work, and comedy where timing is the product, remain studio jobs. The clear wins are factual, documentary, educational, archive and secondary-language service, which is where most catalogue volume and almost none of the current budget sits.
Dialogue separation reconstructs a usable bed from the full mix. It is an estimate rather than a recovered stem, and a supervising mixer will hear the difference on a dense feature mix. For a factual series from 2011 that will otherwise never be localized, it is the difference between an asset and a dead file.
Distinct speakers are separated and voiced individually, and that works well for structured dialogue. Sustained overlapping speech is genuinely hard in any workflow — for those titles subtitles often produce a better viewer experience than a dub, regardless of budget.
Audio is normalised to the applicable loudness and true-peak targets and subtitles are generated against reading-speed and line-length rules rather than remediated afterwards. Confirm the exact profile per channel — requirements differ by market and delivery chain.
Practical guides from the Octavia editorial team.
The same engine, pointed at a different kind of work.
Start with archive titles in one territory. No deadline pressure, and the clearest commercial case you have.