First, the creative foundation is different.
Simply put, the dubbing of film and television characters is to speak for the characters; It's complicated. For some reason, the voice actor completes the recording of lines for the role played by an actor in a film and television drama that has been completed or basically completed. Through the shaping of sound and the re-creation of audio language, vivid characters are accurately shaped. The dubbing of film and television plays is a process of artistic re-creation based on the original characters' language, personality, timbre, volume, pronunciation, intonation, mood and rhythm, which requires a deep understanding and experience of the works. The voice actor can only say what the character is saying in the context provided by the original film. Even if he doesn't fully agree with the performance of the original actor, he should adjust quickly, move closer to the role, try to grasp the personality characteristics of the characters in the play, grasp the performance style of the actors in the play, and let his voice completely blend into the role, which has a strong normative constraint.
Animated dubbing is an artistic creation, not a re-creation. It means that the dubbing actor uses his own voice to express the personality of the animated character and grasp the rhythm of the language on the basis of the text image and screen image drawn by the animator. Because animated film is a highly hypothetical art, it is not bound by any physical attributes, and only needs to explain life without imitation, so the thinking of animated film itself will not be limited by any material reality.
Second, the creative foundation is different.
1. Characters and original works are the basis of film and television dubbing creation. Understanding the original film deeply and the characters attentively is the fundamental way and important guarantee to obtain accurate psychological basis in dubbing. The task of dubbing creation is not to create another different role, but to creatively complete the language shaping of this role. The highest task of dubbing creation is restoration-through the voice language creation of dubbing actors, each role is "resurrected", and then the overall appearance of the work is appropriately restored. In the dubbing of foreign films, the characteristics and requirements of restoration are particularly prominent. Translation from one language to another requires the creative efforts of translators, directors and actors. Restoration depends not only on the imitation of pure pronunciation and intonation, but also on the strict analysis and appreciation of the original film. Only by having a thorough understanding of the creation of the original film and the performance of the original actor can we restore it accurately.
2. Cartoons are different from traditional live-action movies, because their customers are mainly children, so the contents of cartoons are mainly telephone calls and science fiction stories, and the cartoon characters in the films may not exist in real life. But in the film, we have to dub these things that can't speak in real life, inject life and vitality into these cartoon characters with the addition of sound, and let the audience believe its truth and agree with its existence. In cartoons, the subject of dubbing is infinitely extended, whether it exists in the objective world or an object created subjectively, it can have the function of speaking. Therefore, voice actors need to give full play to their imagination, plus their own understanding of animated pictures, and create distinctive cartoon images through their distinctive voices. For example, in the Japanese cartoon Crayon Shinchan, the actor who voiced Shinchan deliberately made a dull voice. The phrase "Little White, Little White" has made Shinchan's voice a symbol. Donald Duck's "Ah Oh" in the classic cartoon Mickey Mouse and Donald Duck still haunts many viewers. This kind of dubbing doesn't have much practical significance, but it creates a classic cartoon image through exaggerated tone, humorous expression and slightly dull duck-like voice.
Third, the sound modeling is different.
1. The sound modeling of film and television dubbing is based on the sound modeling, character image and personality of the original characters. Film and television dubbing must enrich and complete the characters in the play through language art according to the completed samples. It must be unified in the overall conception of the characters by the film and television drama directors, and achieve harmony and unity with the characters embodied by the actors. Because the film and television drama shows real life, the actors who dub the film and television drama also pursue a natural and true style in sound modeling.
2. The sound modeling of animated dubbing is very different from that in film and television dramas. For foreign cartoons, animators in China refer to the voice modeling of the original characters when translating and dubbing. For China's original cartoons, sound modeling is more about finding evidence from life. However, Chinese and foreign cartoons have a similar feature in sound modeling-exaggeration. The visual image of comics has a remarkable feature, that is, the style of painting is mostly comic, and it is also very appropriate to use exaggerated visual images with exaggerated voices. As mentioned above, because the cartoon image in the cartoon itself can't speak or may not exist, when the dubbing staff can't find inspiration from life, they have to create sound modeling through bold imagination, so the performance of timbre in animation dubbing can be infinite, and timbre determines the fundamental characteristics and direct impression of the role. For example, Sullivan in Monster Company and Manfred in Ice Age are strong, calm and taciturn heroes. The voice representing justice naturally needs a firm and powerful timbre to interpret, but the timbre of the two is slightly different. Sullivan is kind and upright, optimistic and kind, and has rich inner feelings. The voice of the actor who dubs him is low but not dull, which is in line with his strong appearance and his sunny and lovely personality. Manfred the mammoth was a cold loner from the moment he appeared. He is dignified in appearance and slow in action, so he doesn't have much chance to show his lovely and childlike side. Its voice is firm and powerful, but it lacks warmth and vitality, which is a bit dull. Mike with big eyes and Sid with sloth, the second protagonists who partner with these two roles, are both talkative and neurotic optimists, and their slightly dull but changeable voices are in sharp contrast with the first protagonist. Although its image is the foil of the first protagonist, its dubbing is more brilliant and left a deeper impression on the audience.
Fourth, the development status and existing problems are different.
1. With the development of science and technology, it is more and more obvious that the actual voice, that is, the actor's own voice, replaces the later dubbing in domestic film and television dramas. With the continuous improvement of the audience's cultural quality, foreign translated films are played directly in the form of subtitles, gradually replacing a large number of later dubbing activities. Most viewers read the original, and behind the phrase "exercise listening" is distrust and disappointment of the dubbed version. I can understand most English movies, but when it comes to German and French movies, fans are too busy watching subtitles to enjoy the content on the screen. The recording effect of actual sound in domestic film and television dramas is also mixed, because some actors have excellent acting skills, but the expression of Putonghua and lines may not be excellent, and the live recording effect is not perfect, which of course cannot satisfy the audience's audition.
2. The main reason why animated dubbing can last forever is that no matter how technology develops, it is impossible for artists to let animated characters speak for themselves. Therefore, animation dubbing has been developing and improving. However, in recent years, the phenomenon of stars dubbing cartoons has become increasingly hot, and using stars to publicize and hype cartoons has become a default means. However, it should be clear that the dubbing of animated characters is not determined by the timbre and experience of the dubbing actor, but the most important thing is whether the actor's voice and role are appropriate. Even stars have their own advantages and disadvantages in dubbing. In those days, when Lotus Lantern was promoted, the brand of star dubbing was played, and even based on these star dubbing actors, the box office was still not ideal. The audience watched the animated characters dubbed by the stars with curiosity, but ignored the plot and art of the film itself.