Dubbing skills of different language types

Dubbing skills of different language types

What dubbing skills are needed to dub different language types? What should I pay attention to when dubbing? Below I will talk about the dubbing skills of different language types for you, hoping to help you!

First, the voice control of English dubbing uses a relaxed and natural language of life, and it is by no means to cancel basic 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. Chengdu Xinrui Art Training School thinks that it is as natural as the illusionist creates a natural lighting effect with a lot of lights in the studio, which is even more difficult.

Second, the Korean dubbing materials are prepared to understand the background of the original film, master the ideological content of the original film, understand the 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 the status and role of the characters.

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. Chengdu cutting-edge art training center feels that even a famous historical drama, different directors can output different styles, and different actors will perform different characteristics. Only after careful investigation will they be rich. Otherwise it's bullshit.

Third, the spatial awareness of Russian dubbing. The actors stood in front of the microphone. Before recording the dialogue, they should have a space in their hearts. 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 by having inner images can we have a sense of space, and we can cooperate with the sound engineer organically to achieve the best artistic effect.

The sense of space here means that although you are standing in the recording studio, you have to speak as if you are in the space where the original characters are. For example, the tone of people in the ward is different from that of people by the steelmaking furnace, and the tone of people drinking tea is different from that of people passing the ball on the sports field, that is, the so-called prescribed situation is different and the language form is different. If we lack this sense of space and inner video when dubbing, even if every sentence is not bad, it is not a perfect expression.

The sense of space can also lead to another meaning: the voice actors take care of each other in front of the microphone, and the tone should be kept in a stubble, not to be too dull, and not to spoil the overall effect because one individual's voice is too prominent.

Fourth, the language relaxation of video dubbing is just the opposite of the requirements on the stage. Video dubbing must be easy 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 students to exaggerate their lines, strengthen, lengthen and improve their pronunciation, and emphasize pronunciation, enunciation and volume release 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.

Verb (verb's abbreviation) Microphone position in foreign language dubbing Microphone is a tool for language creation, so you should learn how to control the microphone.

Distance will cause sound hollow, and distance will cause sound splitting. If you shout loudly, you should stay away from the microphone. If you speak in a low voice, you should adjust the distance. Usually one foot is the best spacing, and special effects need special treatment. 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. Before the cutting-edge art training, I also talked about whispering on the stage so that the audience can hear it with air, but 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 right, how small the sound can be amplified (tapping your lips and breathing through your nose can also feel the effect)

Sixth, the psychological adjustment during dubbing In the process of understanding and thoroughly understanding the original film, we must first imitate the human hand from the role's behavior, then follow the role's thoughts and actions, scrutinize it from the outside to the inside, grasp the behavioral logic and language characteristics, and reprocess it along this line of thought, so as to have a language life with both form and spirit.

Foreign language dubbing needs to know a little foreign language. Like acting, everything starts with the role. Voice actors should also add one: 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. For prevention? Does the sound stick to the picture?

Or? Separation of audio and video? . This requires attending broadcasting training.

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