Cast, adapted, recorded, edited, mixed to your delivery spec — with the on-screen writing replaced and the timeline conformed to your cut.
I run the whole pipeline — cast, adapted, recorded, mixed, delivered — across 71 episodes of a single series and more than 60 vertical drama titles since 2025. I also know the other side of it: on 154 episodes of Blippi and season one of Meekah I was the post, not the dub — voice tracks arrived recorded and I built the finished episode around them in Brazilian Portuguese and Latin American Spanish, more than 300 finished versions. Preschool content is the strictest possible test of a localisation: if the sign on screen still reads in English, the episode is not localised, it is subtitled.
Localisation normally arrives in pieces. A translation agency writes the script. A studio books the voices. A post house cuts and mixes. A motion designer redoes the titles, badly, three weeks late. Every hand-off is a place where the register drifts, the terminology changes, and the person who could have caught it never sees the whole thing.
I run it as one job. I cast from a roster of Brazilian actors who record to broadcast standard in their own rooms, I adapt the script for lip-flap and register rather than for literal accuracy, I direct the retakes, I cut and mix the result myself, and I replace the written content on screen in the same pass. The reason it holds together is that the person auditing every take is the person who has to make it sit in the mix — so bad takes get rejected on the day instead of discovered at the dub stage.
What that buys you in practice: the same money reaches further, the schedule is not hostage to a booking calendar, and the cast is chosen for the part rather than for who happened to be available on Tuesday. What it costs you: I will not pretend I have a dub stage, and for a theatrical 5.1 premiere you should hire one. For episodic, streaming, kids, e-learning, corporate and vertical drama — which is most of what is actually being localised into Portuguese right now — this is the better trade.
Brazil is where the voices are. The client is anywhere. I work with producers, studios and platforms in the United States, Europe and Asia, quote in dollars or euros, and deliver to your spec, not to a local one.
You send picture, script and a delivery spec. You receive a finished Portuguese episode. Casting, adaptation, recording, direction, retakes, dialogue edit and final mix are all inside the number — and all done by the same desk, so nothing is anyone else's problem.
Titles, signage, labels, packaging, lower thirds, handwriting, whiteboards, the price tag in the shop window. Replaced in Portuguese and rebuilt to match the original typeface, motion, tracking and grade — composited in After Effects and Photoshop, not covered with a subtitle.
Brazilian Portuguese narration for training, onboarding, compliance, medical and technical courses. Adapted from your English script rather than translated word for word, timed to your slides or animation, and delivered module by module so your build team is never waiting on the whole course.
For studios and vendors who already have their voices and need the paperwork to survive contact with the cut. Frame-accurate subtitle splitting, unified season timelines, per-character line extraction, mixed-frame-rate conform, and a QC pass over the whole set before anyone books a recording session.
Every figure here is a direct-client rate in US dollars — the price when you hire the person who does the work instead of a broker who subcontracts it. They are starting points for a first project. Season and volume commitments are quoted lower per minute, and I would rather book a season than a pilot.
Marketplace bookings (SoundBetter, Upwork and similar) are quoted separately, because the platform fee comes out of the same number and I will not deliver a lesser version of the work to absorb it.
Rush turnaround is +30%. One revision pass is included in every service above. Cast replacement after approval is billed at the recording rate for the affected lines only. Payment in USD or EUR, 50% on booking for first projects, net terms on repeat work.
What I do not do: theatrical 5.1 dub-stage mixing, and sworn or legal translation. If you need European Portuguese, that is a different accent and a different cast, and I will say so rather than sell you the wrong one.
Latin American Spanish: I deliver the post and the direction. The 154 Blippi episodes went out in Portuguese and Spanish, at identical scope, so this is work I have done at volume rather than a line on a capability list. What I do not keep is a Spanish-speaking cast — the roster is Brazilian. Bring your own Spanish talent and I will direct, edit and mix them; ask me to cast in Spanish and I will tell you to hire someone else.
Currently booking Brazilian Portuguese localisation for producers, studios and platforms in the US, Europe and Asia. Remote, worldwide, quoted in USD or EUR.