In the post-dial dubbing room of the movie "Hotel War" of the movie " Wolverine 3: Death Battle ", the actor Hugh Jackman, who plays Uncle Wolf , dances and simulating the state of Uncle Wolf running in the woods in the movie scene, while hysterically restoring the expressions in the movie. After the dubbing ended, his expression instantly changed from a vicious spirit to a honest smile. This is the process of dubbing film and television works.
dubbing actors are dubbing.
"From the process of film and television industry, outdoor scenes are the most expensive and cost-saving way to complete the outdoor scene shooting in the shortest time. But live radio is likely to be unsatisfactory. For example, when you are filming a costume drama, a motorcycle is coming over. Can you still need this radio? Just like the long shot of "Wolverine 3: The Death Battle", there must be various voiceovers of guidance and roaring. In my observation, the impact of live radio on the progress can reach one-third. In order to ensure the shooting progress, I will choose post-dubbing very intuitively, because the cost in the recording studio will be less than the shooting scene." Da Ben, the voice director from Guangdong Totoro Dubbing Studio, demonstrated to us the necessity of dubbing in the film industry.
animation director and dubbing director Da Ben.
Sound Studio Producer Cai Jielin.
However, in addition to the actors who play the roles personally dubbing the roles, due to various factors, there are also a group of dubbing actors in the film and television industry who specialize in dubbing. What is the daily life of voice actors? How can the voice actors cultivate the voice video of "the wind blows the grass and sees cows and sheep" step by step? How should voice actors play multiple roles in one person and challenge various roles with a larger personality span? Recently, a reporter from this magazine visited Totoro Dubbing Studio. The obedient drama actor, animation director, dubbing director Da Ben, and voice actor and voice studio producer Cai Jielin introduced us to the cultivation process of a dubbing actor.
Daily daily
"distracted", talking to oneself, and doing desk work,
But we can eat anything
"Eat and drink when we should, but in fact, we will do whatever we should come from normal life." Faced with the curiosity of the reporter, voice actor Cai Jielin introduced the daily vocal actors to the reporter of this magazine in this way.
June Xiaochun , June Beier , June Lam , Wang Haoxin and other artists have all come to the studio to dub.
She takes us to the main position of the studio. A recording studio, an observation room, and a post-processing room form the main venue of the Totoro dubbing studio. In Guangdong, many Mandarin film and television works were only completed after they got it here, and they completed the "transformation" from Mandarin to Cantonese version. After going to this studio to dubbing, the voices of many voice actors appeared in works such as " Lion Boy ", "Wolf Totem", and "First-Level Accident". Artists such as Jordan Chan, Chen Beier, Lam Lam, and Wang Haoxin will also come here to complete the dubbing work.
According to Cai Jielin, before dubbing, voice actors usually watch film and television clips that need to be dubbed, do some desk work to understand the role. Sometimes they encounter dubbing work that requires cross-language and cultural transformation, and voice actors even have to do screenwriter work. "For example, when I was working on the Cantonese version of "The Lion Boy" was made, because its regional characteristics were particularly obvious, with southern themes and Cantonese culture, so when I got the script, the director would spend a lot of time adjusting the dialogue to see how to make it more open-minded," said Cai Jielin.
Wait until the official dubbing day, and when you walk into the recording studio, the microphone opens and the door closes, the dubbing actors have to stay in front of the small screen and microphone for a while. Sometimes it is common to record all day long, "no light of the day".
studio scene.
At this time, another important role in dubbing work - the dubbing director will sit outside the glass window of the recording studio, listening to the monitor and observing the dubbing actors through the glass window. If he feels that the actor's voice is wrong, he will communicate with the dubbing actor through through caller, and sometimes he will assist the actors to "get into the play" on the spot."Once, a girl wanted to match a character who was captured by a Japanese soldier. No matter how she heard it, it was fake. I looked at the recording studio and asked the person next to me to say that you can really pull her. When I heard that voice, it was true, it was OK." said the dubbing director Da Ben.
In addition to the above-mentioned daily life that seems to be quite "normal", Cai Jielin said that the daily life of voice actors is "distracted" and "player spirit". "The career requirements of an actor must be constantly imagined. No matter whether you are conscious or not, you can't stop and you will start to be 'distracted'. That day, we suddenly talked and found that everyone has the habit of 'acting' in life. For example, when you take a bath and relax, you may have a state of being in the same drama, and you suddenly start to talk to yourself. Sometimes you may feel 'energy' when you think back, but as soon as we chat, we found that everyone has this habit."
The silky transition of the dubbing actor
Yang Mi , Tang Yan ,
"transformation" between
recalls that you just started When trying to work with dubbing , Cantonese dubbing actor Cai Jielin said, "When performing, are you in the 'play', others can hear it from the voice. The dubbing of TV series is a bit different from the dubbing of movies. The dubbing of TV series is basically the same scene, and the actors are all in the recording studio, preparing to stare at the characters they recorded. Once they are distracted, not only can they not match their roles well, but they will also implicate the friends who record together, and everyone should start over. So they should be highly concentrated and devoted to the role. When I first started, my voice was not "into the gang", but my voice would change, and I would constantly correct and adjust. As long as I was careful, I would definitely gain."
Cai Jielin recorded Yang Mi's "Palace", Tang Yan's "Why Sheng Xiaomo" and Wu Jinyan's "Story of Yanxi Palace" Cantonese version.
Cai Jielin recorded Yang Mi's "Palace", Tang Yan's "Why Sheng Xiaomo" and Wu Jinyan's "Story of Yanxi Palace", looking for changes between different roles. She said that the way to find the feeling of the role is to refer to the way the actors perform. "For example, the expression of Wei Yingluo is sonorous and powerful, Yang Mi speaks continuously, finds the role of the character, so that the voice will be more appropriate, and I am looking for such a performance rhythm."
Facing several big names in the dubbing industry who contracted all film and television works and the saying "a thousand films are one sound", Linlin expressed her doubts. "Why does a 'thousand-film sound' appear? In fact, between plays, character design and character design are different. You must feel a character in the overall situation. You cannot draw the voice out alone, but you have to devote yourself to the plot."
The "birth" of a good voice actor
as much as possible to perform "face-to-face" as possible.
Go to the role
When selecting voice actors, the first thing that the voice can be considered is whether the voice can be "face-to-face". "His face and temperament must be able to make that kind of sound. We will also choose some accent and tone that is closer to the character itself. Or perform actors with high tension and better know how to shape the character with sound." Cai Jielin, a casting director who is also a voice actor, explained this way, but in her opinion, "good play" is even more important than the better conditions of the voice itself.
Dubbing actors sometimes need to interact with each other.
How to get actors into situations and make the "play" better? In Da Ben's view, "acting" when moving is a necessary means to get voice actors into the situation. "We often ask voice actors to see how actors 'match themselves', such as the dubbing of Hugh Jackman in "Wolverine". We will ask voice actors, how do you be so calm? You see that actors match themselves with themselves, and they can only come out of the most realistic state. If you are so calm and comfortable, you can't restore it. We will ask the actors to stand and cooperate with the movements in the (picture), especially the big movements, you have to find the rhythm and make the body move."
Do voice actors also need to interact with each other? This seems necessary to Benz, but the role of the dubbing actor is actually the character in the picture."If the dubbing actor can really take on that role, the role that goes against you is the movie. Do you need another dubbing actor to play against you?"
Dubbing actor's practice
good dubbing can
"The wind blows the grass and sees cows and sheep"
Before working as a full-time dubbing director and dubbing actor, Da Ben was a stage drama actor. It is a special performance school. He revealed his learning history to us: "I have been studying vocal music and lines for two years, and we only came into contact with some repertoire in the third year. In the first two years, these two courses were scheduled for more than three sessions every week. Don't talk about vocal skills first. You start with practicing qi, get enough qi, and your breath can support you to make sounds while driving or not. This is OK, and then to the next process." Basic voice skills training like
even shaping the actor's imagination. Da Ben used the example of "the wind blows the grass and sees cattle and sheep" to explain what imagination is. "At that time, I had a hurdle, which was to recite the recitation class, saying 'The wind blows the grass and see cows and sheep,' and the teacher said 'I can't hear the grassland in your voice'.' I wondered, 'Can the teacher still hear the grass from my voice?' This is actually the visual sense of the sound. I tried to outline that picture in my mind. When I opened my eyes and recite 'The wind blows the grass and see cows and sheep,' the teacher said that now you see grass here and sheep there.'"
It is precisely because of this kind of abstract and rigorous training that people can master this imagination of the prescribed scenario. The importance of this imagination is not only aimed at the performers, but also affects the completion of the work of the voice actors. "For many voice actors who have become monks halfway through the journey, especially when adults get older, it is even harder to imagine. The voice cannot be changed. For example, the sound of Zhou Xun is like that, but she can still improve the expressiveness of the voice. After recording " Ruyi's Royal Love in the Palace ", performance is more important than sound (natural conditions)." said Da Ben.
How to improve the expressiveness of sound? In the view of Bicycle, actors can always continue to broaden their performance range. "Sometimes what we actors lack is not whether the sound is good or not, but whether they analyze the work and design the character. If he usually designs less, the performance range of this person will be narrower, because he rarely broadens himself, and the more difficult the design is added to himself, the more widens the person's range will be infinitely widened."
Interview with: Nandu reporter Lin Wenqi Intern Luo Yunqing
Picture: Respondent provided
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