Film Dub is committed to flexibility in the face of new formats and markets, such as India and South Arabia, where they believe the next surprise for the audiovisual world will come from.
With production by Luis Cabrera, from Los Angeles
Film Dub, one of the main Chilean dubbing and distribution companies, has had a strong start to 2025. This year’s biggest challenges are adaptation to vertical formats and understanding of new expanding markets, such as the Asian market, and specifically K-content.
Cristina Littin Menz, CEO of the Chilean company Film Dub, said during her visit to LA Screenings that the year began very well. “With different challenges, such as vertical formats. Understanding new markets, such as the Asian market, burst brutally for us. That’s where we are,” she said.
According to Littin, facing vertical content has led them to develop a much larger work chain and a more extensive production chain. “The work is the same, but the type of delivery is different. Because you have to do the whole process in different formats.”
The company has had to grow a lot internally to meet market dynamics. “We have had to take on other areas that we didn’t touch so much before, such as the post-production areas,” she said.
After 2024, which Littin describes as a “strange year,” the company has had to adapt to a new reality of workflows and quantities of content, especially considering its dual role as dubbers and distributors. “We had to accommodate a new reality and quantities of content. We have to adapt to the new workflow.”
Humanizing content
Film Dub has taken a clear and ethical stance on using artificial intelligence in its work. “As a matter of protocol and commitment to our talent, AI is not used in our voice processes and is signed into our contracts unless the client requests that service,” Littin said.
The executive acknowledges that AI can be useful for specific tasks, but stresses that the heart of the work is still human: “In review and research processes, yes, we can use AI, but in general, we can’t use it much so far. The process is absolutely human, even when the material we receive is not. That is where we add value,” he said.
The boom in Asia
Cristina Littin focuses especially on the growth of the Asian market, which is characterized by the heavy weight of Korean content and the proliferation of mobile apps that work with vertical content.
“There is a clear trend: the Korean thing that used to be anime, today is conventional drama. And the other thing is the number of apps with vertical formats, mostly Asian developers, who buy content in different parts of the world,” she said.
With his eyes set on an industry that is changing rapidly, Littin focuses on maintaining the ability to adapt as a competitive advantage: “I hope that we continue to grow in the different formats that appear, that we have the flexibility to adapt to what the client asks of us. We would like to have more presence in the Asian market, both in India and South Arabia, which are the territories where we believe the next surprise for the audiovisual world will come,” she concluded.
