Micro Series and Macro Trends: TransPerfect’s Take on Localization

In this interview, Asher Loy, Chief Business Officer of TransPerfect APAC, discusses the evolution of localization in a world shaped by AI, global streaming demand, and cross-cultural storytelling. From reviving classic voices with AI to launching SaaS platforms that democratize dubbing, Asher shares how TransPerfect Media serves global clients while staying agile across diverse markets in Asia. He also reflects on his personal journey into the industry, the rise of Asian content on the world stage, and what’s next for 2025. This is the written version of the Vitrina podcast interview with Asher Loy—summarized for quick reading and reformatted into a Q&A style for clarity.

Asher Loy:
“TransPerfect Media is a division of TransPerfect, a company with over 30 years of history. We support global clients like Netflix, Prime Video, Warner Bros. Discovery, and Apple TV with a full range of media services—subtitling, dubbing, technical services for conformance, and post-production (mainly in Europe). We also specialize in restoring and preserving classic films in our large facilities in the US and Paris. Over the past decade, we’ve invested heavily in building our own AI technology. What used to be called ‘machine translation’ has now evolved into AI-driven workflows, helping us improve turnaround time and achieve things previously impossible.”

Asher Loy:
“AI has really improved our efficiency. A good example is a recent project in Germany where we revived the voice of an actor who had passed away using AI. We did this with the family’s consent, ensuring fair compensation, and the audience loved it. Of course, AI also raises ethical concerns. It’s critical that we address governance, compensation, and protection of artists and their voices. AI is a tool—not a replacement for human creativity—and we need to pace its adoption responsibly.”

Asher Loy:
“I started in broadcast infrastructure—building TV stations and studios. But I found localization much more fulfilling because it deals with people, languages, and cultures. It’s not just technical; it’s personal. Whether you’re working with linguists, producers, or creatives, it takes real passion. And yes, it’s intense—there are projects like ’32 languages in one week’ that demand insane schedules. But that’s part of the job.”

Asher Loy:
“Years ago, it was mostly English content coming into Asia. But now it’s the reverse. The turning point was the global popularity of Korean content. It opened doors for Thai, Indian, and Chinese dramas, and now there’s global appetite for Asian storytelling. Content from countries like Japan (anime), China, and India are seeing international traction. Even in remote parts of Indonesia without internet, people were watching downloaded Hindi content. That’s the power of cross-border storytelling.”

Asher Loy:
“Streaming platforms gave audiences control—pause, play, watch anytime. That flexibility drove demand, and COVID accelerated it. People were at home, seeking content from everywhere. Streaming platforms like Netflix, Disney+, iQiyi, and regional players like Vidio and Coupang Play have reshaped the game. Some even invested deeply in their localization supply chains early on, which really paid off.”

Asher Loy:
“We work with all parties—production companies, post houses, streamers. For animation, we sometimes start dubbing at the storyboard stage before animation is finalized, requiring creativity and close collaboration with creators. For library content, it’s more structured. For new releases, we prep weeks in advance because 24–48 hour turnarounds are common for global launches. Security is paramount—we don’t allow downloads, use watermarking, and follow strict ISO/TPN standards to protect pre-release content.”

Asher Loy:
“We launched ‘GR Voice’ and ‘GR TV’ as part of our GlobalLink suite. These tools allow small creators or corporate users to upload videos and generate dubbed or subtitled versions quickly. It’s SaaS-style and works well for corporate, training, or marketing content—not necessarily for premium streaming content, but good enough to reach wider audiences. It democratizes localization for those who can’t afford full-service studios.”

Asher Loy:
“In APAC, we have studios in 16 countries and a global dubbing partner network. The largest human voice project we’ve done in APAC involved 16 languages simultaneously. With AI, the language possibilities expand even more. But we’re clear—AI is used to assist, not replace. Human voice actors still bring the emotion, nuance, and sync that AI can’t fully replicate yet.”

Asher Loy:
“We already have bases in nearly every major Asian city. Our focus is not just expansion, but finding market gaps we can help fill. We look at Korea, Japan, China, India, and Thailand as key regions. But it’s not about doing everything ourselves—we collaborate with partners. We don’t see competitors as rivals; we see them as allies. The market is cyclical, and partnerships are vital to survive the highs and lows.”

Asher Loy:
“Yes, micro-series are gaining popularity, especially among younger viewers. People have less time, so shorter content works well. It’s also a smart investment—launch something small, see how the market reacts, then build it out. We’re already localizing many 4–5 episode series. Asian audiences are used to longer formats, but 8–12 episode ‘micro-series’ are becoming the norm.”

Asher Loy:
“Seasonal spikes align with school holidays or festive seasons. Just like theatrical releases are timed for family viewing, streaming releases follow similar cycles. But there are always unpredictable factors, so we stay agile.”

Asher Loy:
“2025 will see more AI adoption across the board—clients are open to testing new tools, especially for scale and cost efficiency. But growth will likely be steady, not explosive. Personally, I’m watching Chinese and Thai content closely—both are gaining traction globally. And while India remains massive, it’s about placing the right bets based on data. Everyone’s optimizing for impact now.”