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I'm Ash Ketchum.
I came from Pallet Town in the cancer region.
And this is my good buddy Peak Jew.
Nice to meet you.
I am Sara Natatorium, a voice actor.
You probably know we boast as Ash Ketchum on Pokemon.
I'm also t a kitchen and star after and Mr E.
This today I'm gonna be showing you my process for doubling Pokemon into English.
Pokemon is a show that's originally voiced and animated in Japan.
So when the show comes to me, my job is to reinterpret it for an American audience.
We start every session with my director telling me all about the episode.
The turnaround time for these shows is extreme.
So sometimes we're working with scripts that were finished the night before.
I never get to see the script ahead of time.
It's always a cold read.
Hi, I'm Lisa, the voice director and Ash.
Today you're gonna be running down the beach?
Yes.
And beach time.
My favorite.
I record in a booth by myself, so I very rarely get to hear the other actors performances.
My director is the dungeon master.
She knows how everything is going to sound.
She can predict all of their performances, and she knows exactly how to direct me to get exactly what she wants Next.
We watched the scene in Japanese.
Let's take a look.
I can't.
Yeah, a lot of stuff is happening in this scene.
He's running, he's out of breath.
He's tripping over Litton and then he runs to his mom, all excited and huffing.
And he's always huffing.
He's always excited and nothing.
So I want to do justice to that, just with my voice.
So what I'm looking for when I see this in Japanese is the mouth flap where he moves his mouth where he opens his mouth really wide, where he has, like, a whole, like a clenched kind of teething, and that will indicate to me where to put all the words on the page.
So first, we're gonna do a whole run of the scene, and then we're going to go back and pick up all the parts where I messed up.
We are online 45 to 35 04 It's gonna be on there.
You won't beat me.
You are about to meet Litton for the first time.
So this is where you're gonna You're gonna keep running through over there as you saw in the scene.
Did you get there?
You're gonna step on his tail and then you'll go into sort of like the comic tumbles after that.
So awesome.
Let's give it a world.
There are three beeps that cue me in.
I come in on the fourth beep.
So Sarah, I'm going to give you three beeps for the first Q and then one beat for the following.
You won't baby.
Oh, sorry.
So basically, my eyes, if you notice, are darting back and forth from the page to the screen to make sure that I have the line right and that I have the flap right at the same time.
So while I'm matching the flap and getting all the words out, I have to match the emotion that's happening on screen more so than the original performance.
So I'm looking at the animation and figuring out how to emote based on that.
So I look at his eyes.
I looked his eyebrows.
I look at his mouth and look at the way the animation is.
If it's like in a really crazy scene, and the background changes that I know I have to get much bigger.
So now that we've done one take of this long past, my director is gonna give me some notes, and she'll have a lot of them.
Let's give that another past the line that you're I know.
I know.
It's a long set for you to start a take on there is gonna be sorry as soon as you turn around and go on that.
So when you ramp yourself up after peek a choo get up a little bit, you can even get in a little bit more with that so that you're sort of, like, pretty intense When by the time you actually step on Litton's tail So the sorry is on screen.
The sorry is on screen the turn around that turnaround right there that you're seeing.
That's you having the reaction to the Sorry.
Okay, So while this happens, our engineer moves.
The three beeps over to the spot where I need to punch in the Oh, sorry.
So we're looking at line 50.
You got an open shock react, and then a Sorry, you're gonna see the turn and then the double flat.
Sorry.
Oh, man.
Sometimes I have to deliver a line in a way that doesn't feel natural to me.
Sometimes I have to go really, really slow or really, really fast.
Sometimes a line will be really urgent, but there's not enough mouth movement for me to say something really, really fast.
That could be a problem.
Blue water, fluffy white clouds and delicious pineapple juice.
I messed it up.
E was too early, so I messed it up.
I was too early, and I messed up the line.
It's not why it's not fluffy white clouds.
It's white, fluffy clouds.
I'm bad at this.
Let's do it again so long before the script ever even gets to me, an adapter has to take the Japanese translation and make it make sense in English and make it also fit into the mouth flaps.
That's how we get this.
The timing of my performance is really important because, first of all, you don't want to hear somebody talking when their mouth isn't moving.
Secondly, and this is the adapters job.
He has to make sure that everything he gets out of the translation makes sense in English and fits into the mouth flap.
So if a character has a big, wide open mouth halfway through the sentence, he has to justify that.
He has to write a script that justifies that coming to you.
Blue water, white fluffy clouds and delicious pineapple juice.
Mm.
It's so refreshing.
Yeah.
Great.
That's great.
I play many characters on the show.
Usually I do them one at a time.
But for the purposes of this demonstration, I'm going to do them together.
Ready for it?
I guess.
Back.
Hope you have full cash.
Sure did.
We went diving with a sharp Edo.
So lots of Pokemon I've never seen before.
That was great.
We're just going to stretch out one of the ones in the middle over there.
You give us enough time so that we can do it perfectly.
So that's perfect.
So sometimes my performance might be a little bit short, and they can digitally lengthen it so that it fits the mouth flat.
Perfectly.
Sure did.
We went diving with a Sharpie?
No.
So lots of Pokemon I've never seen before.
Sure did.
We went diving with a sharp Edo.
So lots of Pokemon I've never seen before.
All right, that looks great coming to you.
pop.
That sounds like fun.
We have my me to think for winning the tickets for our vacation.
Thanks very much.
My, me.
That's short.
So sometimes the line in the script comes up a little bit short, and we have to add a few syllables to make it fit the flat.
So, Lisa, what do you think?
Let's take a look at what we've got.
Why don't we add in?
Have my me to thank for winning the tickets for a Lola vacation.
Okay.
And how about that?
Does sound like fun rather than that Sounds like fun.
Great.
Awesome.
Coming to you.
That sounds like fun.
We have my me to think for winning the tickets for Arlo.
A vacation.
Thanks very much.
My, Me.
Great.
That works.
All right, let's see the completed.
Seen, uh, you won't, baby.
Sorry.
Oh, man.
Blue water, white fluffy clouds and delicious pineapple juice.
Mm.
It's so refreshing back.
Hope you have fun, Ash.
Sure did.
We went diving with a Sharpie.
No.
So lots of Pokemon I've never seen before.
That does sound like fun.
We have my me to think for winning the tickets for our Lola vacation.
Thanks.
very much my me.
And that's how I dub Pokemon.
So because the English dub is so widespread, I'm getting emails from people in India and Bangladesh and Russia and Japan and Brazil thanking me for helping them learn English.
It's amazing.
It's really an important thing that helps bridge cultures.
In 1931 of French actress Union told its membership, You cannot dubbed because it is beneath you and it is offensive to the original actor.
I disagree.
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声優が明かす、ポケモン英語版吹き替えの裏側。| VOGUE JAPAN

39 分類 收藏
林宜悉 發佈於 2020 年 8 月 14 日
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