第一，角色定位，要认真体会动画人物的性格特点、动作习惯、说话方式等。，并把自己当成动画人物来揣摩他的表达方式。说白了就是人物配音要有特色，不能千篇一律。每个人的声音都要有辨识度，才能创造出经典的动画形象。
第二，动画配音的声音表现要与整部电影的声音环境相协调，比如喜剧要用欢快的声音来表现。配音时要综合考虑整体风格，适当把握语气、停顿、感情等要素，不要突兀。
第三，动画片的配音要随机适应，不同国家和地区的动画片要有不同的特点。比如搭配欧美电影，要适当卷舌，尾音要稍微上调，读人名要快标准；比如搭配粤语电影，要熟悉粤语和普通话的说话习惯。同一句话，粤语的表达方式，语言组织，普通话都不一样。粤语语调低，语速有时慢。只有清楚地理解这种差异，才能制作出好的作品。
第四，作为配音演员，声线要求清晰，变声能力强，能适应各种角色，从老人到孩子，都要求配音演员有足够强的控制和演绎能力。
第五，声线要有特色。如果你闭着眼睛，你也应该能听到这个声音来自动画、电视剧或电影。因此说特色的声音，是原创动画在创作过程中容易被忽视，但又极为关键的一点。
第六，配音要有丰富的感情。动画是配音前几乎无声的作品(那些先配音后制作的除外)。所以不能像电视剧电影一样给配音演员更多的启示。所有的情绪都要根据演员的揣摩和配音导演的调动来调动。作为一份可以快速连接配音的工作，配音演员花时间研究角色已经成为不可能的奢望，这使得流水线上作业的配音普遍缺乏应有的情感色彩。
在做译制动画更要注意，我们的配音是二次配音，要弥补原创动画配音的漏配和不完美。没有情感色彩的声音，就无法塑造出有血有肉的卡通形象。如果一个卡通形象苍白无力，就很难得到观众，尤其是年轻观众的认可，就没有角色亲和力。
First, the role positioning, we must seriously understand the character characteristics, action habits, and speaking styles of the animated characters. , And think of himself as an animated character to try to figure out his way of expression. To put it bluntly, the character dubbing must be distinctive and not the same. Everyone’s voice must be recognizable in order to create a classic animation image.
Second, the sound performance of animation dubbing should be coordinated with the sound environment of the entire movie, such as comedy with cheerful voices. When dubbing, the overall style should be considered comprehensively, and the tone, pause, emotion and other elements should be properly grasped, and not abrupt.
Third, the dubbing of cartoons should be adapted randomly, and cartoons in different countries and regions should have different characteristics. For example, when pairing with European and American movies, you need to roll your tongue appropriately, the ending should be slightly raised, and the name should be fast and standard; for example, when pairing with Cantonese movies, you must be familiar with the speaking habits of Cantonese and Mandarin. The same sentence, Cantonese expression, language organization, and Mandarin are different. The tone of Cantonese is low, and the speaking speed is sometimes slow. Only by clearly understanding this difference can we produce good works.
Fourth, as a voice actor, he must have a clear voice, strong ability to change his voice, and be able to adapt to various roles. From the elderly to children, the voice actor is required to have sufficient control and deductive ability.
Fifth, the voice must be distinctive. If you close your eyes, you should also be able to hear this sound from an animation, TV series or movie. Therefore, the characteristic sound is a key point that is easy to be overlooked in the creation process of original animation.
Sixth, the dubbing must have rich feelings. Animations are almost silent works before dubbing (except those that are dubbed first and then produced). So it can't give voice actors more enlightenment like TV series and movies. All emotions must be mobilized according to the actor's speculation and the voice director's mobilization. As a job that can quickly connect dubbing, it has become an impossible luxury for voice actors to spend time studying roles. This makes dubbing on assembly lines generally lack the emotional color it deserves.
When making a translation animation, we should pay more attention to it. Our dubbing is a secondary dubbing to make up for the missing and imperfect dubbing of the original animation. Without an emotional voice, it is impossible to create a flesh-and-blood cartoon image. If a cartoon image is pale and weak, it is difficult to get the recognition of the audience, especially young audiences, and there is no role affinity.
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