In order not to affect the viewing of the film due to language problems, we usually use dubbing, but it is the creation on the premise of not destroying the viewing effect of the original film, maintaining the life style and authenticity, and striving to be authentic. Translators have no right to make good films out of sync, otherwise they will be sorry for the audience and the original film. Therefore, the first thing to pay attention to in dubbing is the correct mouth shape. Bad mouth shape is a hard injury to the dubbing film, which will greatly affect the mood of the audience watching the film.
Actors who have just begun to dub must first pass the lip test. Liaoning Children's Art Theater memorized all its lines in 1983 to solve the problem of lip synching when it matched "Smart Break". Before the official dubbing, everyone rehearses together in the shed, just like a play, again and again, until they become proficient. At that time, the equipment was relatively backward, and the film was film, so the film progress could not be adjusted back and forth. If one person made a mistake, others would have to accompany him to re match. This kind of pressure is quite great, and it is even more difficult for children actors who have just begun dubbing, so they chose the most troublesome but safest way - reciting lines. Fortunately, at that time, the translation time was not strict, and there was enough time for the actors to recite and rehearse. In the early days of the translation factory, the pressure was even greater, and the film could only be matched twice at most. If another mistake was made, it would be impossible to remedy it. So we rehearsed over and over again when we played the film circularly, not only grasping the mouth shape, but also grasping the charm behind the voice. Under this condition, the old artist has produced one classic after another.
Now it is far less difficult to pass the oral barrier than in the past. The equipment is much more advanced than before. All of them are digital signals, which can not only advance and retreat videos at will, but also adjust the mouth shape through the workstation even if there is a small entrance and exit. But even so, the requirements for the mouth shape should still be strict. Actors should not lower their standards because they have advanced equipment. The mouth shape is the most basic requirement for voice dubbing. If this work also needs to be adjusted according to the equipment, it is really difficult to make decent works.
Now dubbing can be repeated indefinitely. If it is wrong, you can go back to the wrong place and do it again, instead of starting from scratch or from a large section as in the past. This greatly saves time and improves efficiency, but it is also easy for actors to become dependent on equipment. There is always a consolation that can be reconfigured. Although the pressure is low, they also lose the belief that they can live by improving once more. Sometimes, when the second half of a long sentence is not well matched, the sound engineer will reverse the picture and then match the first half of the sentence. Most of our voice actors today have the ability to connect the tone before and after. But ability comes from ability. After all, it is different from saying it twice in one sentence. It is far from enough to think that the audience cannot hear it. Dubbing is a comprehensive project of art and technology. Translated films that only seek technology and ignore art will not be remembered by people even though they can't catch the hard wound. Think about that wonderful case analysis in Bike's "The Massacre on the Nile", which lasted more than 20 minutes. How could it be so wonderful if there were always two sentences? At that time, although the equipment was simple and crude and could not be easily re matched repeatedly, which put a lot of pressure on the actors, it was precisely these pressures that made everyone attach great importance to and strive for perfection. Before the official dubbing, both the translation and Liaoning Children's Art Theatre have to watch the looped video and play tricks for several times. This is not only a familiar mouth shape, but also a deep grasp of the plot and characters. No wonder Shang Hua said, "I still miss that way of working. After rehearsal... Although (the film) is big, you are rehearsing constantly and you are familiar with it. The character, the language, the rhythm of the language, and the expression of thoughts and feelings of the characters are coherent and smooth, as if they were subconscious. When you enter the role, it's more comfortable to perform. "① What I said above is by no means to promote the old things as good things. What I want to express is a working attitude. Our current equipment is so advanced that we don't need to recite lines and rehearse again and again. We certainly don't advocate this practice. However, it is the absolute principle to produce good works. We have such a relaxed dubbing environment. It would be a pity if we didn't make good use of it and relied on it or even slacked off. Of course, the production cycle of the film is far shorter now than in the past, and the time for studying the plot and the role is very limited. The voice actors must grasp the role in a short time. In this way, our actors must demand higher standards, not only in terms of skills, but also greatly improve their artistic accomplishment. It may not be realistic to reach the level of translation in the past today, but we should try our best to approach that level.
Finally, I would like to emphasize that the accent is only the most basic requirement for dubbing. It is impossible to produce good works if you take the lip synching as the purpose of dubbing.
Grasp the characteristics of the characters
After the synchronization of video and audio is ensured, the voice problem of the characters should be solved. Although everyone's voice is different, there are similarities in the way people of the same type speak. For example, strong men should speak more coarsely, thin people should speak more pointedly, young girls should speak more pure, and octogenarians should speak more vicissitudes. Holding this similarity is the key to grasping the characteristics of the characters. Of course, not always follow the same rule, but also treat them separately according to the characteristics of the characters and different situations. I will talk about it in two aspects.
1. Image characteristics
The image characteristics are the general characteristics of a designated character image, generally referring to personality characteristics and emotional characteristics. Everyone's way of speaking often depends on his personality, so we can often understand what kind of person he is through his words. For dramatic characters, this linguistic feature is even more important, because it is one of the ways for us to understand this role. There are many characters in a play, and everyone's personality is different. Without a sound distinction, the audience will be confused, and the interest of the work will be greatly reduced. This is the so-called character characteristic. In addition, a person's way of speaking is also different in different moods. For example, when he is happy, his tone will increase, while when he is depressed, he will speak very low and his tone will become dignified. Therefore, voice actors should also distinguish between different ways of speaking. This is the characteristic of emotion. A good dubbing should first make the audience forget the existence of dubbing. If the sound and image are often disconnected, which distracts the audience, this dubbing is a failure. Therefore, the voice actor should have the ability to shape his voice. When he sees the image of the role, he should show his voice in his head and make his voice meet the requirements. He can't play his part that I deserve. It doesn't make sense just to flatter.
In "The Black Tulip", Tong Zirong is paired with two roles - Guiom and twin brother Julian. Although they are very similar in appearance (played by Alan Delong), they are two people with completely different personalities. The elder brother is a heroic hero who helps the poor, robs the rich and helps the poor, while the younger brother is a promising, heartless, fledgling child. Although the timbre is gorgeous and beautiful, the voice is different due to different personalities, and this difference is very subtle. When the two characters met for the first time, Tong Zirong pressed his brother's voice very heavily, with a steady and slow voice; When matching his younger brother, he deliberately raised his voice line and used his usual "Piao" voice dubbing method. His voice was pure and awe of his brother. Without the strength of his brother's voice, he was a little weak, giving a feeling of lack of self-confidence. This ingenious portrayal shows all the characters of the two brothers. Although they are performed and voiced by the same person, from the perspective of the audience, they can tell who is who. This shows that Tong Zirong has accurately grasped the image characteristics of the characters, especially the internal character characteristics.
2. Timbre characteristics
The image characteristics mentioned above emphasize more on an internal feeling, which is very important for the "modeling" of the characters. But feeling alone is not enough. We can't bear to hear the voice of an old man and a young man. Because the timbre doesn't match, the timbre can't be ignored for dubbing. The timbre depends on the physiological conditions of a voice actor, which cannot be changed by performance. In fact, this point can be described together with the point, because the timbre characteristics are also part of the character image. After a translated film meets the requirements for the oral form, the next step is to solve the problem of sound pattern matching. The latter, like the former, is also the most basic requirement for dubbing performance. Regardless of the emotional expression during dubbing, it can be concluded that this is not a successful translated film just because these two points are not well done. However, these "low-level" errors have occurred repeatedly. Although the "lip synching link" does not have a big problem, the "character timbre link" is doomed. In view of this sad situation, I decided to take a single section to talk about "timbre characteristics".
Every voice actor should have a certain voice change ability, which is part of the voice performance, but this ability cannot be abused. The timbre of Bike with Duqiu (Chase) is quite different from that of Detective Pollo (Massacre on the Nile). This change of voice is very natural without any sense of farfetched, so it is very comfortable to shape the character's voice. But after all, we can't regard voice change as a common tool. No matter where the dubbing group is, even the temporarily organized group should ensure the integrity of instruments and parts just like the organization of a band. If there is a lack of sound patterns, only small adjustments are allowed. Therefore, directors play a very important role in this issue. They are responsible for selecting voice actors and assigning roles. If there is a mismatch of voice patterns in the end, directors will be directly responsible. No matter how good an actor is, he or she will not perform well if he or she can not be assigned a role that can play his or her own specialty. On the contrary, he or she may become a failure of the whole film. The author believes that the biggest failure in "Vertical Limits" is the role matched by Tong Zirong, whose voice and image do not match. Tong's voice was young and gorgeous, but the character was a big man with a thick beard. Although he deserves to work hard, he can't match that image with his voice. The voice of Eve Kendall, the heroine of CCTV 8's "North by Northwest", is obviously older, which is not consistent with the young and beautiful characters. The sound pattern of the Iranian film "The Children of Heaven" on CCTV 6 is even worse. The little boy has a soft girl's voice, and the old woman has a young woman's voice. How can this dubbing reassure the audience? On the contrary, it upset people's emotions.
In the translated film, the original voice type will also be appropriately adjusted to adapt to the Chinese aesthetic habits. For example, Mara in Waterloo Bridge and Scarlett in Gone with the Wind are both played by Vivien Leigh. Her voice is relatively low. This is because the English voice is relatively backward, and most European and American people use low voice or even hoarseness as a sign of sexiness, so they don't feel uncomfortable listening to the original voice. But it would be very awkward to use that kind of voice mode if I changed it to Chinese. The Chinese pronunciation is in the front, and for the traditional aesthetic habits, the petite beauty image should be interpreted with a more lovely and childish voice line. Therefore, Liu Guangning and Tang Ye were selected to dub the two roles respectively, and the final effect was also very successful. However, nowadays, with the change of Chinese aesthetics, or the westernization of aesthetics, more people are not accustomed to hearing the delicate voices of Europeans and Americans. "Restore the truth" and "Original taste" are often proposed. Therefore, the dubbing standards should be constantly adjusted with the aesthetic changes of the vast audience to adapt to the tastes of more people.
