If this sentence is intended to express an embarrassing tone, if it is only used in speech acts, we should pay attention to the scene in Taiwan Province Province, the way the voice actor explains his feelings, and the key points of the tone. Next is the most critical production. The problem you encounter is a small problem that many lazy animators will encounter. They only look for key frames. Like when? Me? When pronouncing words, the lips must be slightly opened at the beginning, and the words should be pronounced slowly in the mouth. Then, after the words are spoken, the mood will be brewed, but it will take a lot of time, so many lazy animators will use the most basic skills they learned in animation school to take the mouth shape of the words to be said as the key frame, regardless of performance, and do animation directly.
After the word is completed, as long as the mouth is correct and there are no mistakes, it is completed, regardless of whether the intonation and tone are appropriate. The first is the number of mouths. For some animations, the number of mouths may be nonstandard. For example,? How do you know that in fact, only when reading actually? Yao? There is an obvious closed position, but the picture probably just keeps opening and closing its mouth at a certain frequency. At this point, some mouths are doomed to be incorrect. The other is that there must be a sticking point in mouth shape when matching foreign films, but in contrast, the beginning and end are often the most important, so the beginning and end of sentences will be as long as possible when dubbing.
First, you can fine-tune the copy. If it is translation, try to find a translation method close to your mouth without violating the agreement. Sometimes, after consulting the relevant personnel, the dubbing staff can also play or fine-tune the lyrics appropriately to make the lines closer to the picture. Finally, this is a performance problem. In fact, this does not mean how wide the mouth of the person in the animation is. In fact, the dubbing staff must open their mouths to adapt. The key is to express correct emotions and the accuracy of emotional expression. As long as the mood is in place, the audience will naturally ignore this disharmony. Therefore, I think to avoid the disharmony between the mouth movements and voices of characters in animation, we should first count the mouth shapes, then dub them, and then fine-tune the mouth shapes.