Basic skills of role dubbing

Contrary to the requirements on the stage, the later dubbing must be relaxed and natural. Because the microphone is highly sensitive, the space between the actor and the audience is shortened. Do not require the extension of tones and syllables, do not deliberately pursue loud and sweet timbre, any exaggeration and affectation will be distorted, and the sound state should be natural according to life.

In front of us, we asked the students to exaggerate the lines, strengthen, lengthen and improve the pronunciation, emphasize the sound resonance, articulate firmly and release the volume in order to make the audience in the back row hear clearly. But in the recording studio, there is the opposite requirement: everything should be restored to the true state of life. This is naturally because the microphone and mixer play a decisive role, and any exaggeration will bring unreal effects, which is the fundamental difference between film and television and stage art in line creation.

2. Voice control of dubbing

Using a relaxed and natural language of life is by no means abolishing basic skills training. Relaxation can't be out of control, confused or ambiguous. We should also emphasize the appropriate limits of language, and naturally pay attention to the norms of language, sometimes even more convergent than in life.

Some students will ask, since we have returned to the real life, we simply don't practice basic skills. This goes to the other extreme. When we say that natural relaxation is a comparison with stage play, we are not going back to your original natural life. You may be confused by Lickitung's pronunciation, or the four tones of the local accent. You may also have a bad pronunciation position, and you may not be able to distinguish Nale, Enen, Buddha, Yiri and Orr. And you don't even understand logical stress. How can I be qualified for dubbing? This so-called Songchi is naturally based on artistic language, so that the audience can't find traces of artificial carving, and the requirements are higher. Just as illusionists use a lot of lights in the studio to create a natural lighting effect, natural art and the nature of art are even more difficult.

3. Material preparation for dubbing

Understand the background, ideological content, style and genre of the original film, analyze the language characteristics of the original film, understand the context of the plot development, understand the feelings of the characters in the play, understand the temperament and timbre of the characters, and know their status and role.

No matter how good an actor is, he can't just read his lines. Although your recitation level is high and your voice is good, there is also a problem of matching with other roles. The creation process of the voice actor is the same as that of the actor in the original film. He should be familiar with the background, theme and genre of the script, so as to have a backbone in dubbing creation. Even for famous historical dramas, different directors can derive different styles and styles, and different actors will also interpret different characteristics. Only after careful investigation and rich material preparation (pictures and words) is it nonsense.

4. Microphone position during dubbing

Microphone is a tool for language creation. You should learn how to control it. Distance can cause sound hollow, and distance can cause sound splitting. If you speak loudly, you should stay away from the microphone. If you speak in a low voice, you should adjust your distance. Usually one foot is the best distance, and special effects must be treated specially.

As we said before, the location of the microphone is put by the recording assistant, which seems to have nothing to do with the actors. In fact, the microphone is dead and people are alive; It's useless to set it up by shaking it back and forth. Actors must cooperate with the recording team to get the best results. I talked about whispering on the stage so that the audience can hear it in the air, not in the recording studio. Not only can't whisper loudly, but sometimes it is more convergent than the pronunciation in life. With a microphone, as long as the distance is appropriate, how small the sound can be amplified (the effect can also be perceived by tapping your lips and breathing through your nose)

5. Psychological adjustment in dubbing process

In the process of understanding and thoroughly understanding the original film, we should first imitate the human hand from the role's behavior, then scrutinize it from the outside to the inside along the role's thoughts and actions, grasp the behavioral logic and language characteristics, and reprocess it along this line, so as to have a language life with both tangible and spiritual qualities. Foreign language dubbing needs to know a little foreign language.

Like acting, everything starts with the role. The voice actor should add one thing: get close to the role actors in the film. Any distractions that try to show your loud voice and superb skills should be abandoned. Because there is already an image acting on the screen, you can only follow his (her) behavior logic to dub, even the timbre and laughter should be imitated. Only by turning you into him (her) can you realize the first step of modeling; Even if the actor in the original film has realized the unreasonable (inappropriate) place in his performance, you should rationalize it for him or her, and then make up for it with your language. Only in this way can you have both form and spirit. With this mentality, you can match a living language. Language with character. Only in this way can we prevent "sound and picture are not divided" or "audio and video are separated". This requires attending broadcasting training.

6. Spatial awareness in dubbing.

All the actors concerned are standing in front of the microphone, so there should be a space in their hearts before recording the dialogue. You can imagine the situation specified in the script, referring to the circular picture on the silver screen. Whether it is film dubbing, professional dubbing or radio drama, only with inner vision can we have a sense of space, and can we cooperate with the sound engineer organically to achieve the best artistic effect.