German AI voiceover

The German voices, with samples

Each sample reads the same line so you can compare them fairly.

One field, one locale, one register

German in the Language field binds the video to the de-DE locale, since a premium voice name is locale-locked and cannot be pointed elsewhere. The director writes in standard German and defaults to the formal Sie, which suits most business videos; ask for du in the brief if your brand talks that way, and the whole script follows. An Austrian or Swiss German voice means opening a scene's voice dialog and searching the live catalogue, where de-AT voices appear, then repeating the assignment on each scene you want changed. The written text stays as authored when a voice is swapped.

Matching a register to the job

The energetic pair, Puck and Laomedeia, fits product drops and social ads where tempo sells. Charon and Erinome read like a good technical trainer, and every tutorial is locked to them; the rule is enforced mechanically so an onboarding video can never come back sounding like a commercial. Umbriel and Sulafat carry the friendlier small business tone, and Iapetus and Aoede do investor updates and internal comms without colour. Gender is the second axis, chosen from the brief, and any single scene can override the video's default through its own dialog.

Long words, long sentences, and the clock

German sentences with their verb-final clauses resist trimming, and the engine's answer is to stretch the scene to the audio rather than cut the audio to the scene; in dynamic pace a scene grows up to one and a half times before the line spills across the next cut. If a scene balloons, the fix is editorial: split the sentence, front-load the verb, drop the subclause. The per-scene speed steps run 0.85x to 1.25x and a start delay in seconds lets a diagram land before the voice begins. Music sits itself at 22 percent under speech automatically.

Spelling for the ear, not the eye

Numbers are the first trap, since einundzwanzig reverses the digit order; write the words out whenever the reading matters, especially prices and years. Foreign names inside German sentences get a phonetic respelling in the narration box, the only pronunciation control available. Punctuation does the timing work: full stops cut caption cues, commas breathe, question marks lift the read. The director is forbidden the em dash in narration by prompt rule, a convention worth keeping in manual edits, because German already supplies enough clause structure without dashes gluing more on.

Captions in this script

German umlauts and the ß are Latin-extension glyphs that every font in the catalogue carries, so captions render correctly in all 21 looks. Timing is per word against the actual clip, the current word highlighted, the coming ones dimmed. The trait to design around is compound length: a single word like Kundenzufriedenheitsumfrage occupies most of the pill's 72 percent width on its own, and since a sentence beyond 48 characters wraps into a second cue, German captions change more often than English ones. Short main clauses keep the pill calm.

A video narrated in German

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