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Localized Dialogue Recording Recommendations (Live Action)

  • The recording area should be well dampened from room reflections, hard surfaces, ventilation and resonating metallic vibrations from music stands and other supporting items.
    • In the recordings, the booth space should not be audible. If the booth sounds like a booth, that is the first challenge to address.
    • Minimise reflective surfaces using various materials.
    • Position absorption panels to isolate resonances.
    • Experiment recording in various locations within the booth
  • The recording space should be approximately at least 7’ X 10’ to allow for proper mic-ing with minimal reflections and resonances.
  • Avoid using dynamic compression, limiting or equalization (EQ) during recording. These processes are handled during mixing.
  • Record with two mics simultaneously.
    • One as the primary source for dialogue.
    • Another as a slightly more distant capture. (possibly about 1-2 feet different than the primary mic) The second mic can be an identical model or another type, but when they are the same, this technique can work very well).
    • Do not combine the recordings.
    • There is no requirement to deliver all the takes from both mics. Delivering the best recording for each line is sufficient.
  • For live action dialogue especially, be aware of the proximity of the main mic. Dubbing too close will create an upfront sound that will sit on top of the M&E, rather than blending in. There is no requirement to recreate the tonality of the original version, instead attempt to make the dialogue sound like a well recorded, on-set recording.
  • When recording the primary dialogue with a super-cardioid microphone placed on a boom, a distance of approximately two feet from the actor is recommended. If using a shotgun mic a distance of three feet is recommended.
    • Point the microphone directly at the voice talent, on axis.
    • Note: Some use the terms “boom mic” and “shotgun” interchangeably however it is common to see super-cardioids attached to a boom.
  • When using a boom, use a high-quality shock mount to avoid vibrations.
  • Avoid using a windscreen during recording unless absolutely necessary.
  • When recording voice over (where the original recording has a narrative, non-dialogue, storytelling quality) a large diaphragm mic is recommended. In scenarios where the aim is to maintain the same tonality as principal dialogue a super cardioid microphone can be utilised.
  • In situations where there is a need to match existing dialogue that will remain in the final mix. Pre-existing dialogue may be easier to match using a Lavalier if the OV audio was recorded that way.
    • If all dialogue is being replaced with a new language (like most shows), a lavalier recording is generally not needed.
    • Lavalier recordings tend to be muffled and require a lot of processing to achieve a good dialogue sound. (the sound when two actors hug in a scene is a good example of that muffled sound)
    • Lavalier recordings are prone to clothing rubbing sounds and off-axis changes in the dialogue.
  • Ensure you are using a high quality preamp. The following is a non-exclusive list of suggestions. Netflix will continue to update these lists and welcomes any recommendations or feedback. Please reach out to your Netflix International Dubbing representative:
    • API
    • Avalon
    • BAE
    • Daking
    • Focusrite ISA range
    • Grace Design
    • Great River
    • John Hardy
    • Millenia
    • Neve
    • Sound Devices
  • Use the same preamps and mics on characters conversing in the same scene. Differences can manifest in unacceptable variations between recordings that may result in Netflix rejecting the content.
  • Avoid recording a conversation across two different studios. Differences can manifest in unacceptable variations between recordings that may result in Netflix rejecting the content.
  • Special attention should be given to lip-sync. The following tools can assist in improving the overall sync of dubbed dialogue. Below are some examples of these tools:
    • Voice Q
    • Video Slave 4 Dub
    • Ediprompt/Edicue
    • Mosaic

Microphone List

Below is a non-exclusive list of microphones with guidance around the type(s) of recordings they should be used for. Netflix will continue to update this list. Please reach out to your Netflix International Dubbing representative if you have any recommendations.



Usage Preference



Schoeps CMC641

Ideal for live action lip-sync. Suitable for voice over when positioned closer to voice talent (approx 1-2 feet).

These are directional, but also have a similar response when slightly off-axis.

Sennheiser MKH-50

Sennheiser MKH-8050

DPA 4018


Neumann KMR 81i

Suitable for live action with the following caveats: avoid using if size of the recording room is smaller than 7’ X 10’.

Highly directional. Ensure minimum distance recommendations are adhered to.

Schoeps CMIT5U

Sennheiser MKH 60

Sennheiser MKH 8060

Large Diaphragm

Neumann U87

Suitable for voice over and narration. Avoid using for live action lip-sync.

In the event these will be used for live action lip-sync please reach out to your Netflix International Dubbing Representative.

Mojave MA-200













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