Only pay attention to the similarity of sound forms, not to expression and content.
In the practice of advertising dubbing, many beginners emphasize the sound form, ignoring the content and expression skills, which makes them fall into the strange circle of formalism. In fact, sound is just a carrier, and the content it carries is the most important part of our whole dubbing work, and the expression skill is the key to let the audience understand the content better. To this end, we must first try to overcome the misconception of this sound.
To overcome these problems, we should first change the insincere and passive dubbing state, strengthen emotional movement, carefully grasp the color components of tones, pay attention to the changes of breath and sound, and make oral English full of vitality. Secondly, we should enhance our sense of language. With a strong sense of language, our language can be diversified, multi-level and colorful. Again, use your voice freely. Free use of sound means choosing a free range, the best range and the best volume. Don't use that reluctant and artificial voice, especially don't blindly pursue high notes and empty voices. We should prevent ourselves from changing the natural sound to create timbre such as "loud", "round", "generous", "soft" and "sweet". Your natural voice is the best, and the voice of pinching, squeezing, pressing and pulling is not desirable. Don't change your voice by force, even if you are born with a lack of voice.
When dubbing advertising characters, especially those who are different from their own age and experience, we should pay special attention not to blindly pursue squeezing the voice to achieve a certain tone, but to carefully consider the language expression characteristics of the characters and strive for similarity in expression. The development of modern radio and television audio technology can give us great help in timbre, but it is powerless in expression. It can be seen that the similarity of expressions is more real than the similarity of timbre. Because what we pursue is the internal ideological and emotional movement based on content, rather than some external forms that are divorced from specific feelings and emotional movements.
Inconsistent with music
Television advertisements are often accompanied by music contrast atmosphere, and dubbing personnel should understand the melody and rhythm of music before dubbing. Due to different production methods or production process arrangement problems, some advertising producers can't provide pictures and music for dubbing staff's reference. In this case, the dubbing staff should record it several times with different rhythms and timbres for the producers to choose. The best way is to combine pictures with music for dubbing, and use the emotional changes of music to mobilize your mood and language changes.
Compared with pictures, music has a more direct influence on language, because both are sound elements that act on hearing. To integrate language with music as much as possible, we can start with emotional feelings, timbre and rhythm and melody. A voice actor who is familiar with music and has a strong sense of music will soon find the combination of language and music. We may think that the quality of dubbing can be improved through the continuous improvement of music literacy of dubbing personnel.
Dilution preparation
Because the advertising time is generally short, generally only 5 seconds, 15 seconds, 30 seconds, 1 minute, and it will not exceed 5 minutes at most. Compared with the dubbing of special topics and columns, there are fewer languages for advertising dubbing. Many dubbing actors downplay the preparation process, cope with errands, and don't think deeply and analyze. After getting the manuscript, I matched it directly without thinking. This irresponsible attitude and practice is likely to lead to early creative and well-made film and television advertisements, which will eventually lose their elegance and even become a failed work because of dubbing. And good dubbing can lead to association, icing on the cake for advertising, and bring unexpected overall effect. In fact, the shorter the language, the more difficult it is to express advertising demands. Good voice actors often choose words carefully and try again and again before they can produce excellent sound works.
In practice, there are often two situations in advertising narration and dubbing. One is that the dubbing staff has ready-made pictures and music to refer to when dubbing, and the other is that the pictures and music have not been made yet when dubbing, so there is no reference. In the second case, it will be more difficult to prepare the manuscript. Dubbing actors should fully understand the creative intention of advertisements with directors and producers, so as to determine their identity and choose appropriate timbre and expression style. In this case, it should be recorded several times with several different styles, different feelings and different rhythms for the director to choose in post-production. Although this method is not conducive to the performance of voice actors, it frequently appears in reality for various reasons. Therefore, it is more important for the dubbing staff to prepare the manuscript, including the "generalized manuscript preparation" that accumulates various dubbing expression styles at ordinary times. Good dubbing staff can often participate in the post-production of advertisements and help directors and producers choose a reasonable dubbing expression style.
Common Problems and Analysis of Advertising Dubbing (Part Two)
Core Tip In advertising dubbing, there are many expressions of audio language. Because of the great differences in people's personalities, it is difficult for beginners to grasp the characters quickly, endow them with appropriate timbre and expression habits, and it is also difficult to express the narration in advertisements quickly and accurately with appropriate expression styles.
Improper handling of parallel and parallel sentences
In TV advertisements, many advertising words are exquisitely written and use various rhetorical devices, such as parallelism, repetition, thimble and circulation. When dubbing this kind of advertising words, the dubber needs to ponder over it repeatedly and choose a reasonable expression that sets off the theme step by step. Many beginners are not skilled enough in dealing with such a language.
Narrow adaptation, only natural language performance.
In advertising dubbing, there are many expressions of audio language. Because of the great differences in people's personalities, it is difficult for beginners to grasp the characters quickly, endow them with appropriate timbre and expression habits, and it is also difficult to express the narration in advertisements quickly and accurately with appropriate expression styles.
In dubbing, due to the limitation of this language expression skill and the lack of expression style, many beginners can only perform in their mother tongue, and their adaptation is narrow. Of course, it is impossible for us to master any timbre and any expression style accurately and skillfully, but we should try our best to expand our voice tolerance, enrich our language expression skills and master many language expression styles.
The changes in the industry market are always rapid, and catching up with the market is equivalent to taking a successful step. Each type of advertising film has its own rules, which can be said to be unwritten at a certain time. However, with the development of the times and the change of people's appreciation level and aesthetic level, this basic style will change from content to form. A good voice actor must adapt to this change, keep pace with the times, be eclectic, and strive to form his own unique artistic characteristics and even style.
Can only imitate, not create.
The most common way for beginners to learn dubbing is imitation. The success of many famous dubbing masters begins with imitation. From imitation, we can get a preliminary perceptual knowledge, learn to appreciate and analyze, and know what is good and what is bad. Only by determining the standard of beauty can our own dubbing move in the right direction. But dubbing imitation is not like drama imitation, and the purpose of dubbing imitation should at least not be "like". exist
In the stage of imitation learning, I am most afraid of learning sentence by sentence, only pursuing superficial forms and forming mechanical imitation. I think if you imitate well, you will basically master the rules, so try to imitate the timbre. In the end, it will lead to the rigidity of using gas to make sounds and the dull and single expression.
In practice, we find that it is often very difficult to get the written manuscript and combine pictures and music to create audio language works. Not like the existing one, and then try to match it, at least imitate it. To be a truly excellent voice actor, you must have your own creation and characteristics. Let students try to use different timbres, expression styles and techniques to explore creative methods in combination with the requirements of the film, the description of characters in the script or the selling points and intentions of advertising products and their own voice conditions. Many times, more than one expression style and skill can be recognized by most people. This makes beginners realize the diversity of creation, different starting points, different appeal points and different environments. Will lead to different creative results. Because people's aesthetic standards vary widely, every kind of creation may have its supporters. Therefore, in creative practice, we should try our best to exert our imagination and make bold attempts.
Teacher Qi Yue once said, "Imitation is not creation. If you confine yourself to imitation, you will accomplish nothing. If you are not satisfied with imitation, you can get rid of imitation and enter re-creation as soon as possible. " Therefore, imitation is the primary stage of learning dubbing, so we must apply the initial experience and understanding gained from imitation to practice, make specific adjustments according to specific conditions, combine our own characteristics, jump out of pure imitation, and strive to reach the other side of re-creation.
The premise of creation is correct imitation. Imitation should be to abandon the timbre of classic dubbing and imitate its expression and dubbing skills through careful analysis. Through imitation, I had a preliminary contact with dubbing skills or voice expression from perceptual to rational, and was enlightened to put myself on the right track. Many times, due to age, experience and experience, it is not easy to understand the basis for the use of sound expression skills in excellent sound works. You need to tear the classic works repeatedly and compare them with the original sound until you find the psychological basis for dealing with the differences, and finally compare them with your own original ideas to find certain rules. In this way, starting with the shell of sound and expression, we imitate the basic forms and techniques, but we are not satisfied with the form. We look for its internal basis through shell analysis, and finally understand the brilliance of the classic soundtrack.
It should be emphasized that the sound form and expression skills of imitation must be closely related to one's own personality. On the basis of one's own interests, find out the driving angles and skills that can best express one's voice temperament characteristics. Because the premise of using techniques is to make the voice use freely, only in your own free voice area can you use techniques skillfully and naturally, and you should prevent changing your own free natural voice to create loud, mellow, rich and sweet timbre.