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At present, most of the works of American animated films, mainly use the dubbing creation mode of first dubbing and then filming animation, first of all, after planning and discussion, the studio finalizes the script of the animated film, and then the creator selects the corresponding dubber to record the lines according to the needs of the characters in the animation, and when the recording is completed, the action and expression design of the animated characters are carried out according to the performance of the dubbing.
This production system and method gives voice actors great creative space and room for play, and they can directly infiltrate their personal emotions and imagination into the animated characters according to their own understanding and performance, narrowing the gap between virtual animated characters and real actors' performances.
In this way, the animated characters that the audience sees are just like those played by real actors, and the characters are more vivid, with unique personalities and unlimited vitality. The most notable example is DreamWorks' representative "Blue Fish Gangster", whose animation characters are designed according to the demeanor and personality of the voice actors, and its voice cast can be described as very large, most of which are voiced by actors from the popular TV series "The Sopranos". DreamWorks boldly transplanted the facial features of each superstar: including Martin Scorsese's two thick eyebrows, Angelina Jolie's thick lips, Will Smith's signature dance, and even the cancer of Robert De Niro's right face was also lit on Biyu's face, so that the character voice acting and animation image reached a high degree of unity.
Another example is another Chinese kung fu-themed American animated film "Kung Fu Panda", in which Atun's image and character are co-created by Jack Black and the animation designer, and the animation stars are partly virtual animated characters, and partly derived from Black's brilliant interpretation. This creative mode of first dubbing and then filming has strong advantages, mainly on the basis of the personalized language of the animated characters, paying more attention to the high consistency between the timbre and the characters, creating an animation character with a more realistic and three-dimensional sense, and at the same time giving full play to the acting talent of the voice actors.
For example, in the film "Kung Fu Panda", Dustin Hoffman's voice is also quite good, and his voice is sophisticated and calm when creating the role of the master. When teaching Kung Fu to Ah Chen, he also voices the characters according to the rhythm of the movements in the picture, and his words when expressing the master's thinking are very steady, with a sense of otherworldliness and fairy wind. It is this emphasis on dubbing and meticulous carving that has made American animated films all the rage around the world.
In most animation tunying in the mainland, the creation mode based on post-dubbing is still adopted, which is also a more stylized production method, that is, after the production of animated characters, the lip-syncing language is matched. This mode of voice actor voice performance experience requirements are relatively high, because the animation characters generally speak with actions, and the amplitude of the action may be relatively large or even exaggerated, which will undoubtedly have an impact on the voice frequency, volume, breath, expression of the animated characters, especially lip shape, the voice actor needs to carefully figure out the content of the script, carefully deliberate the character of the animated character, and then match the corresponding language, the actor's voice should be exaggerated, but also reflect personalization and identification.
Therefore, the animation films in the early mainland were mainly completed by professional voice actors, and more attention was paid to the actors' mastery of sound, and the mainland also formed an animation dubbing team represented by "Shangshi" and "Liaoyi". However, since the nineties, the professional voice actors in the mainland have gradually shrunk, and many voice actors have left the field of animation dubbing for various reasons, and the quality of dubbing of animated films in the mainland has declined. At the same time, due to the lack of attention paid by animation producers to the understanding of dubbing, the dubbing of animated films in the mainland once entered the misunderstanding of making do.
Many animated characters have a "broadcast cavity" or a "children's cavity" deliberately dressed up by adults, lacking the unique shaping of the voices of different animated characters, so the voices of animated characters have no characteristics and personalities.
As the famous voice actor Li Yang pointed out: "From a professional point of view, the dubbing of cartoons in China is not paid enough attention, and in an animated film, it is often recommended that one person dubbed several animated characters, even if there are only a few lines." In addition, when many domestic actors dub animated characters, most of them just sit in front of the dubbing desk and read the script, lacking serious scrutiny and appeal, and compared with foreign counterparts, they are not refined enough in terms of work attitude and professionalism of animation dubbing.
Mainland animated films have also tried to imitate the American dubbing production model, such as the domestic animated film "Pauline Lantern" in the mid-nineties, which is based on the voice actor to draw the model of animation characters, of which the image of Erlang God is designed according to actor Jiang Wen, and its voice is also recorded in advance, the image of Erlang God is the unity of "sound and color", which not only fits the needs of the plot content, but also has strong personality characteristics, so this role is more deeply rooted in the hearts of the people, which is a good attempt.
However, the dubbing effects of other actors are still too bland, and they are not very different from the early traditional way of dubbing. In contrast, the successful experience in the dubbing of American animated films should be carefully summarized, borrowed and learned. In fact, whether it is the use of early dubbing or post-dubbing, the first thing is to change the traditional understanding that animated films are only for children to watch, change the practice of blindly paying attention to the picture and ignoring dubbing, and secondly, we must design lines with more connotation and language charm, deeply tap the potential of sound for character shaping, and truly achieve the unity of visual image and auditory image.
Comparison of dubbing characters
In addition to the use of various technical means to design the character, expression, action and image of the character, dubbing also plays a vital role in the shaping of the animated character, not only to achieve the harmony and unity of the voice and the character's body language and external image, but also to let the voice as the symbol of the character image and the carrier of character emotions.
Voice actors should design unique language expressions for animated characters based on various factors such as the specific image, personality, age, social status and life encounters of the animated characters. At the same time, according to the comprehensive characteristics of the animated characters in the film, it is necessary to deeply feel and understand the emotions of the characters, mobilize the actors' own voice characteristics, language control and plasticity to get close to the characters, and make the dubbing characters more full and three-dimensional.
The animated films launched in the United States in recent years have similar storylines, and most of them use animal images as the protagonists, and design interesting language, select suitable voice actors, and interpret the dubbing art that gives animal characters spirituality, so that the auditory and visual can achieve a perfect unity. For example, in "Ice Age", "Shrek" and "Monster Company" have the characteristics of buddy's "plays", creating a pair of pair-style character combinations, taking advantage of the differences in personality between characters, complementing each other in conflicts, such combinations have unique charm and personality, so that the audience does not forget the "ears", relying only on the voice can judge the personality characteristics of the animated characters.
The dubbing of the knife disease in the American classic film "The Lion King" is very vivid and vivid, which is very consistent with the character's positioning and external image. Knife is a villain in the film, he has green pupils, a blister mark on his left eye, although he is thin but has sharp claws, and his fur is darker than other lions, he is the main initiator of all evil, and the Lion King, who represents justice, is an antagonist. Therefore, when dealing with the dubbing of knife disease, its tone fluctuates greatly, and it uses almost exaggerated ups and downs, which is a good reflection of the dark and changeable character of this image. In addition, the use of some "broken sounds" fully reveals its good camouflage characteristics.
The unique sound processing and the shape of the knife combine to show the dark character of the knife and his special proclivity for jumping in the shadow behind the throne. It is the sound and picture that complement and push each other, superimposing and converging convincingly realistic effects and animated images. Another character in the film, the mountain pig "Peng Peng", is a friend he met when he was down, and he is an image of unobtrusive, a little lazy, straightforward personality, and a sense of justice.
For such a role, Disney Company paired it with a slightly sandy but resonant voice to express his love-hate, clumsy and reckless characteristics. Add some humming sounds when you speak, and portray its cute side well. When showing a crane pedaling to speak, the voice actor pays attention to the pronunciation and rhythm to get closer to the real Wei He's call. It is this proper grasp of character modeling and personality that makes each character in "The Lion King" have a unique "voice" corresponding to its personality characteristics, and each character in the film can have its own characteristics and lifelike, becoming a classic work in the history of world animated films.
At present, mainland animated films obviously do not pay enough attention to the imperative dubbing improvement, and on the whole, the dubbing of characters in domestic animated films is almost the same, there are no obvious characteristics to show the differences in characters, and the production is still slightly rough. Many anime dubbing does not express the unity between the character's shape, personality and its voice. A large number of films such as "The Legend of the Rabbit", "Kuiba", "Tibetan Mastiff Dorji" and other films that are "well received in the industry and cold at the box office" have appeared.
China's animation dubbing art must attract attention, constantly innovate the concept, the dubbing of animation characters can not be determined by the actor's timbre and experience, should find the most counterpointed, the most expressive voice to dub specific dynamic characters. In the process of improvement and innovation of Chinese animation, the innovation of dubbing art is not the most important aspect, but it is an obstacle that must be overcome to produce excellent animated films. Because the art of dubbing is not only a necessary condition for successfully shaping animated characters, but also one of the important criteria for measuring all good animated films.
bibliography
1. Li Feixue: Introduction to Film and Television Sound Art, Beijing: China Radio and Television Press, 2010 edition.
2. Jiang Yan: Film and Television Sound Art and Production, Beijing: Communication University of China Press, 2008.
3. Zhou Chuanji: Voices in Film and Television Broadcasting, Beijing: China Film Publishing House, 1991 edition.