Is dubbing worth learning? Is there any prospect? With the development of culture and economy, the position of dubbing industry has become more and more prominent, and the demand for dubbing has gradually expanded in all walks of life, especially in film and television, animation, advertising, games and publicity industries. The development of these industries has correspondingly promoted the development and progress of dubbing, which has invisibly increased people's demand for dubbing. Now dubbing has become an industry that young people chase and love. Therefore, dubbing is still worth learning, and once learned, it can also be played on short video platforms. Is this very distinctive? Only by differentiation can we rise on the video platform faster and create our own labels, and sound will become a very powerful weapon.

Two? Is dubbing suitable for self-study? As an interest, yes. As a major, it is no good. If you want to learn to play casually, you can teach yourself and entertain yourself. If you want to engage in this industry, you hope to be a voice actor, a voice actor and an excellent voice actor in the future. It is still necessary to find a master to learn. Many times it's not just a matter of detours and pits. Just make a detour and drop a pit, and you can reach your destination. It is also possible. The terrible thing is that you took a detour. I couldn't learn any more, so I finally had to give up. This is a strong destruction of my spirit, especially dubbing, which is more difficult to learn by myself, so if you want to really master dubbing, you should either not learn it or learn it from the master.

Is there a free dubbing course to learn about? Of course, and it's amazing. I looked at the search keywords and found that many students are searching for free dubbing courses, which shows that everyone still wants to know about this industry. However, due to the fragmentation of a lot of information on the Internet, it always feels like this industry is very close and far away. Don't loiter on the internet, you can listen to the voice-over course of this great god. You don't need to listen thousands of miles away. All you need is a mobile phone or a computer. She will play voice-over lessons online for free at 8: 00 every night. It's also very grounded. It's really good. Teachers will use very vivid voice demonstrations to express boring theories, so that we can fully feel the charm of voice, which is also very helpful for many students with zero foundation. Students who want to study can find the teacher's new (homophonic): the group in front is: the group behind m8 is: Tata Note: Ming Dow, you can find a new world of learning by combining the above two groups in turn.

Whether you want to study dubbing or not, you can listen to it. If you can't lose, you will be suddenly enlightened. The original voice can still play like this. You will find the infinite charm of sound,

Four dubbing must be seen, and Xiao Bai needs to pay attention to dubbing skills. The working procedures of film dubbing or radio drama recording are basically the same. Basically, the process of recording dialogue first, then recording dynamic effects, then recording music, and finally mixing together is adopted. Collect the essence of many families and summarize it into the following points:

1. Language relaxation during dubbing? Sound control in dubbing process

2. Material preparation for dubbing? Microphone position in dubbing process

3. Psychological adjustment during dubbing? Spatial consciousness in dubbing

4. Do you want to move inside and be quiet outside when dubbing? Tap the potential when dubbing.

5. Do you have to match your mouth when dubbing? Be emotional when dubbing.

6. The application of aeroacoustics in dubbing? Animation knowledge in dubbing

(A) language relaxation when 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 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.

(2) Voice control during 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) The microphone position when 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 the microphone, as long as the distance is appropriate, how small the sound can be amplified (the effect can also be perceived by tapping the lips and breathing through the nose)

(E) Psychological adjustment in the process of dubbing

In the process of understanding and thoroughly understanding the original film, we should constantly approach the characters in the film, first imitate the human hands from the characters' behaviors, then scrutinize the characters' thoughts and actions from the outside to the inside, grasp the behavioral logic and language characteristics, and reprocess along this line, so as to have a language life with both form and spirit.

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".

(6) The spatial awareness of dubbing.

All the actors concerned 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 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.

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.

(7) When dubbing, the internal motion is static.

There needs to be absolute silence in the white shed, and there can't even be the friction of clothes. If you adjust the position of the actor and microphone, you are not allowed to walk around. If it is a line in a fierce action, the actor is required to move inside and be quiet outside, and the dynamics of the line should have an immersive feeling, and the stability of strength and distance should be guaranteed.

Speaking of "internal movement and external static" seems contradictory. When it comes to breathing and performing the six-in-one diagram, I first talk about the heart and mouth, then the mouth and hands, hands and eyes, eyes and body ... why am I nervous inside, calm in appearance, and duplicity? So this is what makes the voice actor special. Because of the high-sensitivity microphone, you are not allowed to wear nylon clothes in the white recording studio, and you are not allowed to run around fighting, so the lines that should have been spoken in action should be simulated by the actors with their inner videos and emotional memories. Of course, it is not absolutely impossible to use action to drive language, but it must be before recording. Once you find the feeling of this kind of action language, you should return to the designated position of the microphone when you actually record. Otherwise, it will be difficult to record the strength of the distance.

(eight) to tap the potential when dubbing.

Dubbing is both implicit and infectious, so we should analyze the characters' language. The later dubbing is an artistic re-creation, and it is absolutely impossible to say that everything is the same. Whether it is intonation or stress, we should find the basis and logic, find the internal connection of picture conversion, and then make a measured and subtle treatment.

Potential is a kind of ability, and the voice actor should not only express the superficial meaning of the dialogue, but also express the deep meaning of the role. Every sentence should infer how to say it, why to say it, and whether there is any other statement. Sometimes, after the director adjusts the structure, you have to find a reasonable connection in the tone of the dialogue for the reorganization of the picture, so that they are internally related, so as to make a measured and appropriate supplement.

Don't be straightforward in dubbing, don't be stereotyped, don't misplace it, and don't listen to foreign voices. Everything must be based on the analysis of characters' personality and language characteristics, and it must not be done. Because the later dubbing is really an artistic re-creation.

(9) When dubbing, the mouth should match.

There is a great difference in pronunciation between foreign languages and Chinese. We should find the mouth shape according to the rhythm of the language, and the translated words can also be adapted according to the changes of the picture and the expressions of the characters. First of all, we should find the right mouth shape, then turn off the reference sound, remember the beginning and pause of the original word, and mobilize ourselves with the help of the prototype emotion to achieve the perfect match of mouth shape.

There are lip-synching problems in dubbing imported foreign language films, Cantonese films and ethnic minority films. Actors who often engage in dubbing in this field have summed up many useful experiences. It boils down to: "Find an airport, draw a language section, find a picture, remember the scenery, and act according to your feelings."

In the process of watching the original film, first, follow-up reading is used to identify the pause position as the air outlet. As long as the opening and closing are consistent, you can reverse sentences or change words in the middle, you can turn off the reference sound and the mouth gesture, you can find close-up pictures in the original position, and you can also observe the movements of the characters or even a look. A mouth and nose twitch can be used as a reference for mouth matching words, which can be unforgettable for experienced old voice actors.

(10) Be emotional when dubbing.

When dubbing, the picture should be cut into segments, which is a major feature of film and television production. How to make the people's emotions in the play continuous and the sound changes in line with the development of the plot, we must first understand the penetrating power of the characters' behavior, the coherence of the characters' inner life and the overall sense of the development of the plot, so as to improve the emotional lines of the characters.

In order to wait for actors, scenery and costume props, the phenomenon of shooting the back scene first and then the front scene often appears in the shooting stage, which is called "jumping"; There will also be "skipping" in the dubbing stage. When skipping rope, the main actors and supporting actors in the sequence should pay great attention to emotional coherence. Recording by volume is the law of film and television production, just like shooting by scene; There must be no problem in recording alone, and the volume of listening combination is also consistent and unified. This requires the voice actor to have an overall grasp of the development of the plot-closely around the emotional line of the role, so that the changes of intonation and voice can be attached to the development of the plot without disconnection, and the emotions are coherent without jumping.

Aeroacoustic application in dubbing (1 1)

Breath is an important means of language, but it cannot be displayed on the stage. Microphone shortens the audience's distance and can show all kinds of breath, or gasp in surprise, or sigh helplessly, or snicker and whisper comfort, or whisper, or talk to yourself nervously, or whine. Don't worry, the voice is too low to hear. The sound engineer checked the mixer, and the application of air sound made up for the lack of stage. The application of air sound enlarges the tiny space, and the microphone makes the dubbing actors even more powerful, and the dubbing skills are more brilliant.

(12) animation knowledge when dubbing

Cartoons in different countries have their own styles, so we should distinguish them when dubbing cartoons. Making a scene in heaven, The Lion King and Rest reflect different cultural backgrounds and characteristics, and all animated characters have their original forms to rely on. You can't talk nonsense just because of exaggeration, showing the ups and downs of animated stories and the joys and sorrows of animated characters. Different roles should use different timbres and make timbre decisions with the changes of the plot. Robots, animals and monsters? , all want to give them a person's personality. The requirements for dubbing are the same as those for feature films. Moderate exaggeration should be carefully carved to show boundless special effects, which is grasped by recording engineers on the machine.

To sum up, dubbing skill is a comprehensive skill that integrates technical art, directing performance and unifying voice and expression. It is also the last stage for actors to complete their performance creation.