1 Is dubbing worth learning? Are there any prospects?
With the development of culture and economy, the dubbing industry has become more and more prominent, and the demand for dubbing in various industries has gradually expanded, especially the film and television, animation, advertising, games and publicity industries. The development of these industries It has also led to the development and progress of dubbing, which has invisibly increased people's demand for dubbing. Now dubbing has become an industry pursued and loved by young people. So dubbing is still worth learning, and if you learn it, you can also be a voice broadcaster on short video platforms. Isn’t this very unique? Only by being differentiated can you rise faster on the video platform and create your own label. Your voice will become a very powerful weapon. 2. Is dubbing learning suitable for self-study? As a hobby, yes. As a professional, that's not possible.
If you want to just learn and have fun without asking for results, you can study by yourself and entertain yourself. If you want to work in this industry, I hope you can be a voice actor, a voice broadcaster, and an excellent voice actor in the future. As a voice actor, it is very necessary to find a master to learn from. Many times, it is not just a matter of taking detours and falling into pitfalls. If you can reach your destination just by taking a few detours and falling into a few pitfalls, it is also possible. It is terrible. It’s because I took a detour, fell into a trap, lost my confidence, and couldn’t continue learning. In the end, I had to give up. This is a strong damage to my own spirit, especially dubbing. It is more difficult to learn by yourself, so if you want to truly To master dubbing, you either don't learn it or you learn it from an expert. 3. Are there any free dubbing courses that I can check out? Of course there is, and it’s pretty cool.
I looked at the search keywords and found that many students were searching for free dubbing courses. This shows that everyone still wants to know about this industry. However, due to the fragmentation of a lot of information on the Internet, I always feel that this industry is It seems very close, yet it seems far away. Stop wandering around online. You can listen to the dubbing courses of this master. You don’t need to travel thousands of miles to listen. All you need is a mobile phone or a computer. She will give live broadcasting and dubbing courses for free at 8 o’clock every night. The lectures are very down-to-earth and really good. The teacher will express the boring theories with very vivid sound demonstrations, allowing us to fully feel the charm of the sounds. It is also very helpful to many students with no basic knowledge. I think Students who are studying can go to the teacher's Weixin (homonym): the group in front of it is: m8 and the group behind it is: tata. Note: Mingdao, you can find a new world of learning by combining the above two groups in order.
Whether you want to learn the dubbing industry or not, you can listen to it and understand it. If you don’t suffer any loss, it will suddenly make you realize that you can still play with voices in this way. You will discover the infinite charm of voice. Four dubbing must-reads. Newbies need to pay attention to the skills they need to pay attention to when learning dubbing.
The working procedures for film and television dubbing or radio drama recording are roughly the same. Basically, the process is to record dialogue first, then record motion effects, then record music, and finally mix them together. The essence of the experts is collected and summarized into the following points:
1. Language relaxation during dubbing? Voice control during dubbing 2. Material preparation during dubbing? Microphone position during dubbing 3. Psychological adjustment during dubbing ?Spatial awareness when dubbing 4. When dubbing, it is necessary to move internally and externally. When dubbing, it is necessary to explore the potential. 5. When dubbing, it is necessary to match the mouth shape. When dubbing, it is necessary to express emotions
6. Breathing during dubbing Application? Animation knowledge during dubbing
(1) Language relaxation during dubbing. Contrary to the requirements on the stage, dubbing in post-production must be relaxed and natural. Because the performance of the microphone is highly sensitive, the space between the actors and the audience is shortened. There is no requirement to stretch the pitch and syllables, and don’t deliberately pursue a loud, sweet sound. Any exaggeration or artificiality will cause distortion. The sound state should be natural in daily life.
We have previously asked the students to exaggerate the lines appropriately when performing a play on the stage. In order to make the audience in the back row hear clearly, the pronunciation of the words must be strengthened, lengthened, and raised. The emphasis is on the sound of the voice, the enunciation of the words tightly, and the loudness of the volume; but when it comes to the recording studio, there are opposite requirements: everything returns to the true state in life.
This is naturally because the microphone and mixer play a decisive role. Any exaggeration will bring unreal effects. This is the fundamental difference between film and television and stage art in line creation.
(2) Sound control during dubbing.
Using relaxed and natural language of life does not by any means abolish basic skills training. When you are relaxed, you should not lose control. When you are relaxed, you should not be confused. When you are relaxed, you should not be confused when pronouncing words. You should also emphasize the sense of proportion in language. You should naturally pay attention to the norms of language. Sometimes it is more restrained than in life. Some students may ask, since we have returned to the real state of life, we should not practice basic skills at all. This goes to another extreme. When we talk about natural relaxation, it is relative to a stage play, and it does not mean returning to your original natural life. You may have a big tongue and cannot pronounce words clearly, or the local pronunciation may be confused, or the pronunciation position is not correct and you cannot distinguish clearly. If you don’t even understand the logical accents of Zhiziyinnaleyin, Enyinyin, Hefoyin, Yiriyin, Eryin, etc., how can you be qualified for dubbing work? This so-called Songchi is naturally in the art On the basis of language, it is even more demanding so that the audience cannot find traces of artificial carving. Just like a lighting engineer uses a lot of lights in a studio to create a natural light effect. It is natural art and artistic nature, but it is even more difficult.
(3) Prepare materials for dubbing. Understand the historical 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, and find out the context of plot development. Understand the emotions of the characters in the play, find out the character's temperament and timbre, and know the character's status and role. No matter how good an actor is, he can't just read the lyrics. Even if your recitation level is very high and your voice is very good, there is still a problem of matching with other characters. The creation process of the voice actor is the same as that of the actors in the original film. They must be familiar with the background, theme, style and genre of the script in order to be able to perform well in the original film. There is a backbone in dubbing creation. Even for historical dramas, different directors can produce different styles, and different actors can perform different characteristics. Only careful investigation and rich material preparation (pictures and text) ) can accurately and vividly dub the characters in the original film. Otherwise it's just nonsense. ?
(4) Microphone position during dubbing. The microphone is a tool for language creation. You should learn the skill of controlling the microphone. A long distance will cause the sound to be hollow, and a short distance will cause the sound to crack. If you respond loudly, move away from the microphone. , if you are whispering, adjust the distance. Usually one foot is the best distance. Special effects require special processing. As we mentioned before, the position of the microphone is placed by the recording assistant, and it seems to have nothing to do with the actors. In fact, it’s not the case. The microphone is dead but the person is alive. If you shake it back and forth, it’s useless even if you set it up. Actors must cooperate with the recording team to achieve the best results. I mentioned earlier that when whispering on stage, you have to use your breath to push the sound out so that the audience can hear it. However, this is not possible in the recording studio. Not only can you whisper loudly, but sometimes it is even louder than the pronunciation in real life. Convergence, with a microphone, as long as the distance is appropriate, no matter how small the sound is, it can be amplified (slightly pursed lips and breathing through the nose will also have the effect)
(5) Psychological adjustment during dubbing In the process of thoroughly understanding the original film, one must constantly move closer to the characters in the film. First, imitate the character's behavior, and then follow the character's thoughts and actions, scrutinize from the outside to the inside, and grasp the behavioral logic and language characteristics. , reprocessing along this path, only with both form and spirit can there be language life.
Similar to acting, everything starts from the character. The voice actor would also like to add one more thing: lean towards the character actors in the film. Any attempt to show that you have a strong voice and superior skills should be discarded. Because there is already an image acting on the screen, you can only dub according to the logic of his (her) behavior. Even the timbre, crying and laughter have to be imitated. Only by turning you into him (her) can you achieve the first place. Even if the actor in the original film has a performance that is recognized as unreasonable (improper), you have to rationalize it for him or her, and then use your words to make up for it. Only in this way can the performance be both physical and spiritual. Only with this kind of mental state can you create a living language. Language with character.
Only in this way can we avoid "the sound and picture are not sticking together" or "the sound and picture are separated from the stock".
(6) Spatial awareness during dubbing. The relevant actors all stand in front of the microphone. There must be space in the mind before recording dialogue. You can imagine the prescribed situations in the script and refer to the looping images on the screen. Whether it is a film dubbing or a radio drama, only by having inner vision can you have a sense of space. In this way The best artistic effect can be achieved by organically cooperating with the sound engineer. The spatial awareness mentioned here means that although you are standing in the recording studio, you have to speak as if you are in the space where the characters in the original film are. For example, the breath conditions of people talking in the ward are different from those of people talking next to the steel-making furnace. The conversation of people drinking tea is also different from the conversation of people passing the ball on the sports field. That is to say, the prescribed situations are different, and the language forms are different. Also different. If we lack this kind of spatial awareness when dubbing, we also lack inner vision. Even if every word is correct, it is not a perfect expression. ?Spatial awareness can also lead to another meaning: the voice actors are in front of the microphone, and they look at each other when the next sentence is followed by the previous sentence. The intonation and tone should match each other, don't look too stunned, and don't be too stunned, nor because there is someone else's voice. Too prominent and ruins the overall effect.
(7) When dubbing, there must be movement inside and outside. The dialogue studio must be absolutely quiet, and there must not even be the sound of clothes rubbing against each other. Once the positions of the actors and microphones have been adjusted, random movements in the front, back, left, and right are not allowed. , if it is a line in an intense action, the actor is required to be dynamic inside and still outside. The movement of the line must not only be immersive, but also ensure the stability of strength, weakness, distance, and near. It seems contradictory to talk about "inner movement and outer stillness". When I talked about the breath and performance of the Liuhe Diagram, the first thing I talked about was the combination of the heart and the mouth, and then the combination of the mouth and hands, the hands and eyes, the eyes and the body... Why is it that being nervous on the inside and calm on the outside has become duplicity? It turns out that this is the special thing about voice actors. Due to the highly sensitive microphones, nylon suits are not allowed in the dialogue recording studio, let alone running or fighting. Therefore, the lines that should be spoken during the action must be simulated by the actors based on their inner vision and emotional memory. . Of course, it’s not absolutely impossible to use actions to drive language, but it must be done before recording. Once you find the feeling of this action language, you still have to return to the specified position of your microphone when actually recording. Otherwise, the recording will not be good if it is suddenly far and sometimes close, sometimes strong and sometimes weak.
(8) Explore potential when dubbing. The dubbing must be both subtle and contagious. The character's language should be analyzed. Post-dubbing is a kind of artistic re-creation. Everything must not be the same. Whether it is intonation, gesture or stress, there should be a basis, logic, and picture transformation. the internal connections, and then make a measured and subtle treatment. Potential is a kind of ability. A voice actor not only expresses the superficial meaning of the dialogue, but more importantly, expresses the deep inner meaning of the character. Every sentence should be thought of as to how it is said, why it is said this way, and whether there is any other way to say it. Sometimes after the director adjusts the structure, you should also find a reasonable connection in the tone of dialogue for the recombination of the pictures, so that they are internally connected so that they can make measured and appropriate supplements. The dubbing should not be straightforward, the same, make random stops without any basis, and have a foreign accent. Everything should be based on the analysis of the character's personality and language characteristics, and must not be made up of superficial words. Because post-dubbing is really a kind of artistic re-creation.
(9) Mouth-syncing should be consistent when dubbing.
The pronunciation of foreign languages ????and Chinese is completely different. You must find the mouth shape according to the discontinuity of the language rhythm. According to the transformation of the picture and the expression of the character, the translated words and sentences can also be modified according to the meaning. First find the correct breath and then turn it off. For reference, remember the opening and pause of the character in the original film, and use the emotions of the prototype to mobilize yourself, so that the lip shape can be matched perfectly. When dubbing imported foreign language films or dubbing Cantonese or minority language films, there is a lip-syncing problem. Actors who often engage in dubbing work in this regard have summed up a lot of useful experience. It boils down to: "Find the breath, draw the verses, find the picture, remember the scenery, and rely on feelings for movements and expressions.
"When watching the original film, I first followed the reading method and found the pause position to make the breath. As long as the opening and closing of the mouth are consistent, the sentences can be reversed or the vocabulary can be changed in the middle. The reference sound can be turned off and changed to silent lip-syncing. You can also look for a mid-range scene at the position of the original words, or observe the character's movements or even a look, a twitch of the mouth and nose, which can be used as a reference for lip-syncing dubbing. For experienced dubbing actors, it can be done Photographic memory, memory based on feelings, perfect matching, can be said to be perfect.
(10) When dubbing, you need to be emotionally coherent. When dubbing, you need to cut the picture into segments. This is a major feature of film and television production. How to keep the emotions of the characters in the play and make the voice changes suit the development of the plot, you must first understand the continuity of the character's behavior, understand the coherence of the character's inner life, and grasp the overall sense of the plot development, then the character's emotional line can be perfected
In order to wait for the actors, the scenery, and the costumes and props, during the filming stage, the later scenes are often shot first, and the front scenes are shot later. This phenomenon is called "jumping shots"; it also occurs during the dubbing stage. "Jump recording". When skip recording, the main actors and supporting actors who play consecutive scenes should pay great attention to the issue of emotional coherence. Recording in reels is the same as shooting in separate scenes. It is a rule of film and television production; it must be done in single recording without any The problem is that the combined listening is also very coherent and unified. This requires the voice actor to have an overall grasp of the plot development - closely surrounding the emotional line of the character, making the changes in tone and voice consistent with the development of the plot without being disconnected, and the emotions are coherent without being disconnected. Jump.
(11) Breathing in dubbing
Breathing is an important means of language, but it cannot be used on the stage. The microphone shortens the distance between the audience and You can express various breath sounds, such as the gasp when you are unexpectedly shocked, the long and short sigh of sadness and helplessness, the snickering and whispering of comforting talk, the lingering whisper of lovers cuddling together, or the nervousness of talking to yourself. , or humming and chirping, don’t worry about not being able to hear it. The sound engineer is on the mixer to make up for the shortcomings of the stage. The application of breath voice amplifies the small space, and the microphone makes the dubbing actor even more powerful. Dubbing skills are even more brilliant.
(12) Animation knowledge during dubbing. Cartoons from various countries have their own styles, and dubbing for cartoons must be done differently. ", reflecting different cultural backgrounds and characteristics. The animated characters are all based on their prototypes. They cannot be arbitrarily exaggerated to express the ups and downs of the animated story and the joy, anger, sorrow and joy of the animated characters. Different characters should use different timbres to change with the plot. The tone is carefully considered, and the dubbing requirements for robots, animals, and monsters must be the same as those for feature films. They must be moderately exaggerated and carefully crafted to express the vastness of the sea and the sky, and have their own sound engineers on the machine. To sum up, dubbing skills are a comprehensive skill that integrates technology and art, directing and performance, and integrating voice and expression; it is also the last step for actors to complete their performance creation.