Brand terms held everywhere
Product names, trademarks and campaign lines pinned in a locked glossary, so they render one approved way — or stay untranslated — in every market and every cutdown.
For marketing teams & agencies
Most campaign video launches in the source market and reaches everywhere else weeks later as subtitles, if it arrives at all. Octavia localizes the hero film, the cutdowns and the social edits together, holds brand terms fixed, and leaves the lines that only work in the source language to the copywriter who should be rewriting them.
The specific reasons this content usually stays in one language.
A hero film becomes a 30, a 15, a 6 and a dozen vertical edits — then multiplies again by market, which is where per-language studio rates stop adding up.
Wordplay, rhyme and cultural reference are often the whole idea. A literal rendering is technically correct and kills the line.
Spokesperson and voiceover agreements are scoped by territory, medium and term — and rarely say anything about a synthetic version of the voice.
The parts of the platform that matter for this work, rather than the full feature list.
Product names, trademarks and campaign lines pinned in a locked glossary, so they render one approved way — or stay untranslated — in every market and every cutdown.
Every translated line is editable before audio is generated, so the market copywriter’s rewrite of the tagline is what gets voiced, not a patch applied afterwards.
Magic Mode separates dialogue from music and effects, so the track, sound design and sonic logo stay where the edit put them. Check the music licence covers the new territories.
Assign a professional synthetic voice per language and hold it across every asset in the campaign, or carry a spokesperson’s own voice where their consent and contract cover it.
Speech is never sped up to cram a long translation into a 15-second spot. When a language runs long, the line is tightened at review — which is what a good adaptation does anyway.
Agencies keep each client’s assets, glossary and reviewers in a separate workspace with role-based access, so nothing from one account surfaces in another.
Four steps from the file you already have to every language you need.
Hero film, edits and social versions together, so one approved script drives every length.
Mark the tagline, puns and cultural references for a market copywriter; translate everything else.
Local marketing, or the agency’s in-market partner, signs off the script before any audio exists.
Dubbed masters, captioned social edits and subtitle files per market, ready for the media plan.
One upload in, every format you need to publish out.
Including the ones where the honest answer is a limitation.
It will translate it — and for most taglines that is the wrong result. Puns, rhymes, idioms and lines built on a double meaning need transcreation by a copywriter who writes natively for that market, and sometimes an entirely different line. The workable split: Octavia carries the narration and body copy, a human writes the lines that carry the idea, and their version goes into the script before anything is voiced.
Only where they have agreed to it in writing, for the markets, media and term you intend. Most talent and voiceover agreements predate synthetic voice and do not cover it, so treat it as a new usage to negotiate rather than an extension of the old one. Where that agreement is not in place, assign a professional voice per language and subtitle the spokesperson’s on-camera lines.
Those live in the picture, not the audio. Octavia localizes what is spoken and subtitled; it does not repaint graphics, so supers, end cards and on-screen legal copy are re-versioned in your edit or design files. Keep them as editable text layers in the master and use the same glossary terms in them, so the end card and the voiceover never disagree.
Centralise what should not vary: a locked glossary for product names, campaign lines and claims language, one assigned voice per language, and a workspace in which each market or agency partner has a defined role. Leave what should vary — idiom, register, humour — to the in-market reviewer, and make their approval the gate before any audio is generated.
Practical guides from the Octavia editorial team.
The same engine, pointed at a different kind of work.
Start with one finished cutdown in two markets, and let the local teams judge it against what they would have commissioned.