Media content localizationacross Europe, Middle East and Africa (EMEA) is expected to increase from USD2bn this year to USD 2.5bn before 2020, according to research conducted onbehalf of the Media & Entertainment Services Alliance (MESA) Europe.

據(ju)歐洲(zhou)媒體與娛樂(le)服務聯盟（MESA）調查，預計(ji)到2020年，歐洲(zhou)、中東(dong)和非洲(zhou)的媒體內容(rong)本(ben)地化(hua)將從今年的20億美元增(zeng)長(chang)到25億美元。

According to MESA, mediacontent localization involves preparing TV, film and video titles ready forglobal distribution. Jim Bottoms, MESA Europe’s Executive Director, told Slatorthe market is covers subtitling, dubbing, video localization, and access services.Dubbing currently accounts for 70% of total spending, according to the MESAEurope report.

據MESA顯示(shi)，媒體內容本地(di)化包括預銷往全球(qiu)的(de)電視(shi)、影視(shi)片頭制作(zuo)。?MESA歐洲(zhou)執(zhi)行(xing)董(dong)事Jim Bottoms告訴Slator，媒體內容本地(di)化市場包括配(pei)字幕、配(pei)音、視(shi)頻本地(di)化和訪問服務。據MESA歐洲(zhou)報道，配(pei)音目前占總支出的(de)70％。

?“There is a huge demand forcontent,” says Bottoms. “Some of it is new release, but a lot of it is iscatalog or stuff that they thought would never sell again.”

“人們(men)對媒體內(nei)容的(de)需求很(hen)大(da)，”Bottoms說。?“一些是(shi)新(xin)發布(bu)的(de)內(nei)容，但也有很(hen)多都是(shi)他們(men)不會再出售的(de)。”

Back catalog TV series andmovie titles are finding new outlets and a new audience in regions where theyhaven’t been seen previously, as they are licensed by foreign channels toinclude in their programming to appeal to a particular demographic or agegroup.

一些(xie)電視劇和電影(ying)在(zai)之前沒有發掘過的地方尋(xun)找新的銷售渠道和觀眾(zhong)，因為他們經國(guo)外授權得以在(zai)節目中吸引(yin)特定的觀眾(zhong)或年齡(ling)人群。

“So, the program makers aresuddenly finding that not only is there a huge demand for new release titles togo out to more and more markets. There is also a demand for getting some oftheir catalog product localized,” shares Bottoms.

“所以節(jie)目組制(zhi)作人(ren)迅速明白新(xin)發布的內容不僅(jin)需要更廣(guang)闊的市(shi)場(chang)，還需要一(yi)些本地化的產品，“Bottoms說(shuo)道(dao)。

MESA Europe noted that thestrong growth in channels is also driven in part by so called over-the-topplayers OTT (i.e. content delivered over the Internet), which has opened upmore opportunities for program makers to sell their titles into new markets.

歐洲MESA指出，銷售(shou)渠道迅(xun)速增加的(de)(de)原因(yin)部分來(lai)源(yuan)于所謂的(de)(de)OTT服務（即(ji)通(tong)過互(hu)聯網提(ti)供的(de)(de)服務），這為節(jie)目制作人將影片銷售(shou)到新(xin)市(shi)場提(ti)供了更多的(de)(de)機會。

Netflix, for one, ended theyear 2016 with 93 million users, delivering about 150 million hours ofstreaming video per day. This was a year after the company announced the globalrollout of its streaming service to 130 countries, which was previouslyavailable only in select countries. Amazon, meanwhile, made its Prime Videoavailable in 200 countries in December 2016, competing head on with Netflix.

截至2016年(nian)，網(wang)飛公(gong)司已(yi)擁有9300萬用戶，每天上傳約1.5億小時的(de)流(liu)媒體(ti)視頻(pin)。一年(nian)前，該(gai)公(gong)司稱，流(liu)媒體(ti)服務(wu)將面向(xiang)全球(qiu)推廣至130個國(guo)家，而(er)以前其(qi)僅向(xiang)特定國(guo)家/地(di)區(qu)提供(gong)。同(tong)時，亞馬遜于2016年(nian)12月在(zai)200個國(guo)家推出了即時視頻(pin)與網(wang)飛公(gong)司相競爭。

With the fast growing globaldemand for content, a shortage of talent has become one of the industry’s biggestchallenges.

“Given the way the market isgrowing, there are already capacity shortages and this is likely to get worsein the short term,” explains Bottoms.

Of course, dubbing has beendone for decades, but the current shortfall in talent is because of the massivegrowth as well as an indication that new talent isn’t coming through. AsBottoms points out, “In Germany in particular, the concern is that the talentis aging and perhaps younger people aren’t coming into the sector for whateverreason.”

隨著全球對媒(mei)體內容的需求(qiu)越來越大(da)，人才短缺已成為行業(ye)面臨(lin)的最大(da)挑戰之一。

“市場在不斷(duan)地發展(zhan)，而(er)人(ren)才(cai)缺(que)失在短期內的情況可(ke)能會越(yue)來越(yue)糟糕”，Bottoms解釋道。

當然，配(pei)音(yin)工作已進行(xing)了數十年，但目前(qian)人(ren)才短(duan)缺是由于媒體內容的(de)迅速增長，同時也意味(wei)著是新(xin)人(ren)才未來的(de)任務艱巨。正如Bottom所指出的(de)，“尤其(qi)在德國，人(ren)們(men)擔心人(ren)才老齡(ling)化問題日趨(qu)嚴重，而年輕人(ren)或(huo)許無論如何也不會從(cong)事該行(xing)業。”