The friends in the Jumbo class have experienced many enlightenment in the domestic drama class. With their continuous understanding of dubbing, they seem to be more willing to challenge.

珍宝班的小伙伴们在国产剧课上经历了好多次醍醐灌顶，在对配音的不断理解中，他们似乎更乐意挑战了。

1.

Pre-text work: form your own set of marking habits

文本案前工作：形成自己的一套标注习惯

I didn’t have the habit of making records before, and it all depended on my reaction after seeing the picture. Even if I remembered some changes in my breath, I sometimes forgot when my focus changed during the formal recording, and I missed some details that I finally found out, which led to Emotional rigidity. But after taking notes, it was like another brain that helped me remember a lot of details. At this time, my brain only needs a little hint to give feedback, which is much better than the previous rush.

我之前没有做记录的习惯，全靠看到画面后的反应，哪怕记住了一些气口的变化，正式录的时候注意力一转变有时就忘了，遗漏了自己好不容易发现的一些细节，导致情绪僵硬。但是做了笔记之后，就好像另一个脑子，帮我记住了很多细节，这时候我的脑子只需要一点点提示就能有所反馈，比之前的手忙脚乱好多了。

The difference between a small loss and a thousand miles, the difference between
the measures, the accumulation produces a qualitative change

失之毫厘差之千里，分寸之间的差别，积累产生质变

When chatting with Teacher Jia Qiu after class, I also asked about the realism and small details of some plain voices, which are more direct than the round and full voices, but sometimes I always feel that the details are lacking for voice training. , I missed a tiny bit, and felt that I couldn't do it. The teacher said, it's not that you can't do it, but that you haven't practiced enough, tried enough, and experienced enough. After you have enough accumulation, experience and try, you will be able to understand the difference between the slightest and control the difference between the slightest. the difference.

课后与贾邱老师聊天时，也问到关于一些素的声音表现出的真实感和小细节，反而比圆润饱满的声音更直戳人心，但是有时候我为了声音的训练反倒总觉得缺少细节，失之毫厘差之千里，觉得自己做不到。老师说，不是做不到，而是你的练习还不够，尝试还不够，经验还不够，等有了足够的积累，阅历还有尝试，你就能明白毫厘之间的区别，掌控毫厘之间的区别了。

2.

Teacher Jia Qiu seemed to take us into an ancient market with many strange things. There are many rare treasures on the market that I have seen but never understood. Teacher Jia Qiu’s explanation gave me a deeper understanding of the dubbing industry.

贾邱老师仿佛带我们进入了一个有着许多稀奇玩意的古老市场。市场上有很多我见过但是从来没有看明白的奇珍异宝，贾邱老师的讲解让我对配音这个行业有了更深一层的认识。

What impressed me the most was that Mr. Jia Qiu taught us to record large groups. I used to think that Daza is very simple, just open your mouth and talk. In fact, it is not the case, large groups of miscellaneous is also a technical job. The large crowd may be placed in the background in the play, and may not even be heard clearly, but it also contains a lot of content. When I am in a play, I must know what era I am in, what identity I am, etc. In my own play, I am the protagonist.

让我印象最深的就是贾邱老师教我们录大群杂。我以前一直以为大杂很简单，只要张口对话就好。其实不然，大群杂也是一门技术活。大群杂可能在戏中是垫在背景中，甚至不一定听得清的，但也包含了很多内容。身在戏中，我就一定要知道我是在什么年代，是什么身份等等，在我自己的戏中，就是主角。

"The group should be unexpected and reasonable." When I was doing group exercises, I played a TV series clip, which was a scene where a group of people witnessed a woman being chased by a zombie upstairs. If it was my previous thinking about Daza, I might only make a sound of exclamation. But Mr. Jia Qiu told us that as an "excellent group actor", he would think of a specific person for his role, which fits the atmosphere of the scene. I was thinking of a woman who was in the front row seeing what was going on, so I tried to follow the picture and give a quick verbal feedback on what was going on. As long as you think of Qunza as a specific character, based on your own life experience, you can actually say a lot of lines.

“群杂要做到意料之外，情理之中”。在做群杂练习的时候放了一个电视剧片段，是一群人在楼上目睹一个女人被丧尸追逐的戏。如果是我以前对大杂的思考，可能就只会发出惊呼的声音。但贾邱老师告诉我们，作为一个“优秀的群杂演员”，就会把自己的角色想出一个具体的人，合乎这个场景氛围。我想的是一个在前排看到事态发展的女人，所以我尝试顺着所看到的画面变化，对正在发生的事情做出迅速语言反馈。只要把群杂想象成一个具体的角色，根据自己的生活经验，其实能说的台词就会很多了。

3.

Teacher Jia Qiu’s domestic drama is quite special. Unlike other teachers’ teaching methods, Teacher Jia Qiu did not choose the same clip for multiple groups to practice repeatedly, but through a large number of clips, each clip is only entered into one group. The method allows students to experience the sense of play in different situations.

贾邱老师的国产剧比较特别，与其他老师的教学方式不同，贾邱老师并没有选择同一个片段让多组反复练习，而是通过大量的片段，每个片段只进一组，海量战的方式让同学们体验不同情境的戏感方法。

Unlike animation, the dubbing of live-action dramas will be greatly influenced by the original film, because the actors in the original film have given them their own performance methods, their body, lines and mouth movements have been determined, and the dubbing actors need to consider , due to many reasons, the mouth rhythm of the picture may not be perfect, which requires us to pay more attention when dubbing.

不同于动画，真人剧的配音会受到原片较大的影响，因为原片中演员已经给了他们自己的表演方式，他们的肢体，台词和口型已经定下，而配音演员需要考虑的是，由于多方面的原因，画面的口型节奏可能并不会很完美，这就需要我们在配音时更多去注意。

For example, we practiced a section in class. The actor’s body movements in the original film are exaggerated, but his lines are not full enough, so when dubbing, we must put emotions on top, so that the interval between the actor’s lines in the original film does not appear to be smooth. Very dry.

比如我们课上练习了一段，原片中演员的肢体动作很夸张，但他的台词口型不够饱满，所以在配音的时候要把情绪顶上去，才能让原片中演员的台词间隔显得不会很干燥。

4.

It can be clearly felt that when Mr. Jia Qiu analyzes the characters, the first thing he does is to analyze the performance status of the actors. The dubbing of domestic dramas pays more attention to the adaptability of actors than original animation. From the timbre to the feeling of the acting skills, we must move closer to the actor's performance step by step. Observing the state of the actors is essential, not only to analyze the acting state of the characters you are playing, but also to analyze the state of the opponent actors.

可以明显感觉到贾邱老师在分析角色的时候，第一时间就是分析演员的表现状态。国产剧配音，比起原创动画，更注重与演员的适配性。从音色到感觉到演技，都要一步步向演员的表演靠拢。观察演员的状态必不可少，不仅分析自己所配角色的演技状态，还需要分析对手演员的状态。

Teacher Jia Qiu said that a good actor will hand the opponent a ladder, and then the opponent will hand it back, so that they cooperate with each other to lift the whole work to a higher level step by step. The same is true for voice actors, who must always pay attention to the state of their opponents.

贾邱老师说，好的演员是会给对手递上一把梯子的，然后对手递回来，这样互相配合，一步步将整部作品抬到一个高度。配音演员也是如此，要时刻关注对手的状态。