广告配音是配音中最常见的，需要注意的事情很多。配音人员除了掌握广告内容外，对配音环境也有非常严格的要求。不同的配音环境对广告配音有不同的影响。
第一，广告配音不是朗诵，需要把握配音空间意识
相关演员应该站在麦克风前，在录制对话之前在脑海中留出空间。您可以想象脚本中的特定情况，并参考屏幕上的圆形图片。无论是影视配音、专业配音还是广播剧，只有有了内部视频，才能有空间感。通过这种方式，与录音机合作可以获得最佳的艺术效果。这里提到的空间意识意味着，尽管你站在录音室中，但你必须像在原始角色的空间中一样说话。例如，在病房里说话的人的呼吸不同于在钢炉旁说话的人的呼吸。喝茶的人和在操场上传球的人之间的对话也不同，即所谓的特定情境不同，语言形式也不同。如果我们在配音中缺乏这种空间意识，我们就会缺乏内在的视觉。即使一个词不坏，也不是完美的表达。
配音人员需要刻苦训练，不断积累文化和文学知识，努力提高艺术修养，提高配音技能，提高对人物原型的深刻理解，并在话筒前进行无私的情感投入，从而更好、更准确地塑造具有自己灵魂和语言风格的有特色的广告艺术形象。
第二，在广告配音中，设备问题也需要注意。与麦克风保持良好的位置距离可以更顺利地完成配音
麦克风是语言创作的工具。你应该学会控制麦克风。长距离会导致声音空洞，近距离会导致声音分裂。如果你大声喊叫，你应该远离麦克风。如果你低声说话，你应该保持距离。通常，一英尺是最佳间距，必须处理特殊效果。
正如我们前面提到的，麦克风的位置由录音助手放置，这似乎与演员无关。事实上，麦克风是死的，人是活的；如果你来回摇晃，它就不起作用了。演员必须与录音团队合作才能取得最佳效果。
第三，专业人士往往有一颗坚强的心，心理素质很强，在配音时能够很好地调节自己的心理状态
在理解的过程中，要模仿人的手从角色的行为，找到角色的思想和行为，从外到内、从内到外深思熟虑，把握行为逻辑和语言特征，并沿着这条道路进行再加工。只有形神兼备，才能有语言生命。
因为画面是动态的，你只能沿着画面进行配音，甚至音色、哭声和笑声都应该模仿。只要您将其集成到其中，就可以实现更好的配音。即使画面不合理，配音人员也要注意调整心态，然后用自己的语言弥补画面的不足，做到形式与精神兼备。有了这样的心理状态，你就可以配上活的语言，为了做好广告配音工作，配音人员应该控制自己的情绪，掌握环境的影响。
Advertising dubbing is the most common in dubbing, and there are many things to pay attention to. In addition to mastering the content of advertisements, dubbing personnel also have very strict requirements on the dubbing environment. Different dubbing environments have different effects on advertising dubbing.
First, advertising dubbing is not a recitation, you need to grasp the awareness of dubbing space
The relevant actors should stand in front of the microphone and leave room in their minds before recording the conversation. You can imagine the specific situation in the script and refer to the circular picture on the screen. Whether it is film and television dubbing, professional dubbing or radio drama, only with internal video can there be a sense of space. In this way, the best artistic effect can be obtained by cooperating with the recorder. The spatial awareness mentioned here means that even though you are standing in the recording studio, you must speak as if you were in the space of the original character. For example, the breathing of a person speaking in a ward is different from the breathing of a person speaking by a steel furnace. The dialogue between the tea drinker and the ball on the playground is also different, that is, the so-called specific situations are different, and the language forms are also different. If we lack this spatial awareness in dubbing, we will lack inner vision. Even if a word is not bad, it is not a perfect expression.
Dubbing personnel need to train hard, continue to accumulate cultural and literary knowledge, strive to improve artistic accomplishment, improve dubbing skills, improve a deep understanding of character prototypes, and make selfless emotional investment in front of the microphone, so as to better and more accurately shape their own A distinctive advertising art image with soul and language style.
Second, in the dubbing of commercials, equipment problems also need attention. Keep a good distance from the microphone to complete the dubbing more smoothly
The microphone is a tool for language creation. You should learn to control the microphone. Long distances will cause the sound to be hollow, and close distances will cause the sound to split. If you yell loudly, you should stay away from the microphone. If you speak in a low voice, you should keep your distance. Usually, one foot is the best distance, and special effects must be dealt with.
As we mentioned earlier, the position of the microphone is placed by the recording assistant, which seems to have nothing to do with the actors. In fact, the microphone is dead and people are alive; if you shake it back and forth, it won't work. The actors must work with the recording team to achieve the best results.
Third, professionals often have a strong heart and a strong psychological quality, and they can adjust their mental state well when dubbing
In the process of understanding, we must imitate the behavior of human hands from the role, find the thought and behavior of the role, think carefully from the outside to the inside, from the inside to the outside, grasp the behavior logic and language characteristics, and reprocess it along this path . Only with both form and spirit can there be language life.
Because the picture is dynamic, you can only dub along the picture, and even the timbre, crying and laughter should be imitated. As long as you integrate it into it, you can achieve better dubbing. Even if the picture is unreasonable, the dubbing staff should pay attention to adjusting their mentality, and then use their own words to make up for the lack of the picture, so as to achieve both form and spirit. With this kind of mental state, you can match with living language. In order to do a good job in advertising dubbing, the dubbing staff should control their emotions and master the influence of the environment.
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