There are three common reasons why domestic film and television dramas use dubbing
Actors’ poor lines
Actors’ lines are not good enough and can be divided into two categories. One is because domestic film and television dramas often use dubbing. It will be created by foreign or Hong Kong and Taiwan artists. Due to language restrictions, most foreign artists cannot complete Chinese lines independently, and there are not many Hong Kong and Taiwan actors who can speak Mandarin up to standard. These artists who are limited by language or accent problems need the blessing of voice actors.
Even Choo Ja-hyun, who became a Chinese wife, and Joe Chen, who has appeared in more than a dozen mainland productions, are inseparable from dubbing.
The other type of failure is due to the actor's poor line skills and lack of professionalism. This is the most criticized situation. Some celebrities and even voice actors have revealed that the phenomenon of "Miss Numbers" and "Mr. Numbers" has emerged one after another. The actors' lines are too weak and their irresponsibility for their profession makes them unable to present a complete performance and can only rely on dubbing assistance.
Regarding this phenomenon, the veteran actor Wang Jinsong’s rebuke is the most appropriate:
When did actors become a profession where even memorizing lines must be praised? The line you memorized was the gun you went to the battlefield with. Can you tell me that you didn't take the gun when you got to the trench? How shameless are you?
Insufficient schedules
Most domestic film and television works cannot complete live recording, and many times require actors to re-dubbing lines later, which involves actors' schedule issues. The schedules of most well-known actors have been seamlessly connected for many years. If the producer does not reserve enough dubbing schedules when signing the contract, the actors will not be able to provide sufficient dubbing schedules later.
Of course, there are some exceptions, such as Lin Gengxin in "Take Tiger Mountain by Wisdom".
The film originally starred Lin Gengxin in the original voice, and the trailer also had the original voice, but after the main film was released, it was dubbed by Jiang Guangtao. During the post-production process of the film, Hu Dong, one of the participating actors, was involved in drug abuse. This accident forced the film crew to delete his part and re-dubb it. However, Lin Gengxin had already joined the crew of the new film at that time, so he had no choice but to dub.
However, it is more likely that the producer has not reserved enough time in order to save costs. Actors are good at live performances, while post-dubbing is the home of voice actors. The difference in expertise between the two professions means that actors’ dubbing speed cannot be compared with that of voice actors. The amount of work that a professional voice actor can complete in a week may cost the actor Several times the time.
At the same time, the salary of voice actors is lower than that of actors. Due to cost considerations, producers prefer to choose voice actors who are "cheap, easy to use and efficient".
The voice line does not fit well
This situation occurs relatively rarely. Jin Chen in "Nirvana in Fire" is a typical case. The "veteran cadre" voice of the character actor Jin Dong did not "fit" well with Jin Chen's chic personality, so the producers chose Jiang Guangtao to dub the character. This choice caused a lot of controversy at the time, because Jin Dong's original voice was too familiar to the audience, and the dubbing made the audience who were familiar with him feel "out of touch".
In addition to these three common reasons, there are also some "niche" reasons. Generally speaking, it seems that the producer, director, and actors each have their own reasons, but does not using the original sound mean that the director and actors have no regard for the film? Disrespectful? It cannot be generalized.
In Qihua, there is some controversy over the fact that actors do not respect the film, because in addition to actors whose lines are not up to par and who are not dedicated, there are also many actors who cannot control the dubbing.
Take Deng Chao, who has been a powerful actor since his debut, as an example. He has a film called "The Legend of Heaven and Sword of the Dragon" that is regarded by the audience as "the least existential". This work can be regarded as a "black star" in Deng Chao's career as an actor. history".
However, when the audience complained about the rough production of the play and Deng Chao's poor performance, they overlooked one detail. The fact that Zhang Wuji was voiced by Deng Chao himself in the play was the result of his own money.
Deng Chao, who was already a popular star at that time, had to pay his own costs if he wanted to dub his own characters. How could those actors with insufficient strength and low voice influence their own works? The public has focused too much attention on the actors' poor lines and lack of professionalism, and has ignored the final decision-maker who allows actors to use dubbing: the director.
Regarding the issue of misuse of dubbing, it is the director who really disrespects the work and the audience.
When a work is controversial due to dubbing, the first person to enter the limelight of public opinion is the director. The actor in front of the stage, does he/she lack professional skills or is he/she not dedicated enough? This is a popular question among the public. But whether it's the actors' poor line skills or lack of dedication to their work, it cannot erase the fact that these actors were chosen by the director.
When selecting actors, the director lowered his professional requirements
Why do he repeatedly choose actors who are not dedicated to their work and have weak lines? It’s because domestic directors’ professional requirements are too low.
In Japan, lines are a basic skill for actors, and the fields of dubbing actors are animation and translated productions. When it comes to the idea that film and television actors need to dub, their reaction is "unheard of." For various reasons, directors lower their selection standards and use actors whose lines are not up to standard, which is a hotbed for the continuous fermentation of the phenomenon of dubbing in domestic dramas.
Faced with foreign, Hong Kong and Taiwan artists who have language and accent problems, it is also disrespectful for the director to compromise easily. Take our cooperation with the Korean film and television industry as an example. When the other party's production team used Chinese artists who could not complete Korean lines, they did not choose to dub them, but created suitable characters.
Shu Qi participated in the movie "My Wife is a Gangster 3". The role was set as the daughter of a Hong Kong gang boss. The character design made her speak Chinese without any pressure. When Zhang Liang made a guest appearance in his friend Park Hae-jin's work "Doctor", the character was set as a Chinese, and a few blunt Korean lines were reasonable and would not make the audience feel strange.
Looking at domestic film and television productions starring Korean artists, artists who do not speak Chinese can successfully get an authentic Chinese role, even a costume role. Even if audiences who have high quality requirements for film and television works complain that their lip syncs and performances are not grounded, it cannot stop the directors from "taking care" of them and losing their pursuit of excellence in art. Because it is necessary to create specific roles for foreign artists who are not proficient in Korean, the probability of foreign artists appearing in Korean film and television works is much lower. We can say that their works are not "inclusive" enough, but we have to recognize them for sticking to this bottom line and producing high-quality works. Increasingly, even deeper collaborations with Hollywood are trumping us, who are more prolific.
The director is already so lenient with foreign artists who cannot speak Chinese, but for Hong Kong and Taiwan artists who only have accent problems, the director has no restrictions. Directors have relaxed their requirements on actor selection, which not only allows dubbing to continue to proliferate, but also makes actors lose their "sense of shame." Among the front-line Hong Kong and Taiwan artists born in the 1970s and 1980s who have worked in the mainland for more than five years, no more than three can speak standard Mandarin.
The production of the work lacks "ingenuity"
In addition to the selection of actors, the root cause of dubbing problems caused by schedules also lies in the director's ingenuity. The pursuit of profit from the work is greater than the pursuit of profit. Art persistence.
A large number of film and television works require post-dubbing due to "insufficiency" in radio technology. The production level of domestic film and television dramas is becoming increasingly advanced, and even special effects production, which was once a shortcoming, has the strength to compete with Hollywood blockbusters. However, the most basic live sound recording technology has "stagnated."
Is the technical level really too poor? It seems not.
Costume dramas are considered to be one of the most difficult subjects to record live, but "Empire of the Qin Dynasty", which has a large number of ensemble scenes and awkward lines, was able to be recorded live and became a "white moonlight" in the hearts of audiences who pursue original sound quality. ". Why can’t the radio “patent” owned by “Da Qin Empire” be widely used? Because the cost of live recording is much higher than the cost of dubbing.
By choosing dubbing, the producer can complete most of the work by paying a relatively "cheap" salary to the dubbing actors.
When choosing live sound recording, you must first select actors with solid professional skills, then choose a filming location that you can control, and finally invest in advanced live sound recording equipment and staff with professional talents.
Comparing the two, it is obvious that the former is faster and saves money. Directors who pursue high efficiency and low cost will inevitably choose the former.
Some people may say that the director is also wronged. The market determines demand. The audience's pursuit of traffic stars forces producers to spend high prices to choose poor traffic actors. And because of the high pay, we had to cut production costs and use dubbing instead of the original sound.
However, when the film and television production industry pursues high economic value, it can never ignore the bottom line of art. If the decision-maker of a work loses the bottom line, how can it achieve good results? I hope that after the ongoing dubbing controversy, directors can sincerely reflect on this issue, be more ingenious, return to the pure pursuit of art, and return domestic film and television works to the "right path."
Some of them can’t match the lip syncs
What do you think of the dubbed anime?
Reduce the burden on the actors and increase the production speed, but the cost will increase.
Although dubbing also belongs to the category of language arts in front of the microphone, it is different from broadcasting. After digging out the written meaning, you can design the intonation and rhythm according to your own understanding; it is also different from the explanation of news and scientific and educational films. The pictures are straightforward and eloquent. Film and television dubbing requires dubbing actors to be absolutely faithful to the original film, and to recreate the characters linguistically based on the characters already created by the actors in the original film.
It makes dubbing actors restricted by many factors such as the original film's character image, age, personality, social status, life experience, voice conditions, etc., and does not allow actors to freely express themselves beyond the original film and establish a new image. At the same time, the dubbing actors are required to deeply understand and experience the characters' emotions based on all the characteristics provided by the characters in the film, and then mobilize the actors' own voice, language plasticity and creativity to get close to the characters they are dubbing, so that the dubbed characters in the film become Fuller and more three-dimensional.
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