Recently, the famous sound supervisor Ming Tianchuan entered a lot of candidates when he gave an interview. He was interested in the work of the audio after watching the cartoon “White Box”. Therefore, Ming Tianchuan was curious, and he came to see the “white box” version before the release. The animation “White Box” mainly tells a group of young girls, facing the behind-the-scenes of the toil animation, each of them struggles to fight hard. In the film, you can see the familiar “shadows” of many colleagues who had worked with Mingtianchuan in the “Bug Pro”. The anecdote of the recording scene of this drama is based on a sound supervision. I think that the interviewer in front of me is interested in the work related to the sound after seeing the animation, so that Ming Tianchuan feels very interesting. .

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明田川进. MAGIC CAPSULE Chairman, Famous Sound Supervisor, Director of the Japan Audio Producers Alliance. The insect production was born, and has been engaged in animation and sound related work since the dawn of Japanese animated music. As the representative of the sound supervisor, there are “Satin Knight” (1967) “Yakila”, “The Legend of the Galaxy Hero”, “Miao Magic House”, “The Story of Chuan” and so on. .

As a well-known cartoon sound supervisor, Ms. Todakawa will combine the anecdotes and experience he has experienced in his work over the years to explain the specific content of the animation work. .

In short, audio work is how to make the right sound for a good image. The basic order is to first match the lines with the lines, then match the music and effect sounds, and finally coordinate the overall balance of the sounds and provide them to the TV station or theater for playback. .

As we all know, the relationship between sound supervision and the seiyuu people who are concerned about voice control is extremely close. Therefore, let us talk about the choice of seiyuu today. .

Usually, the selection of the works will be selected by the on-site audition to determine which seiyuu is suitable for the role. In this case, the budget of the project is sufficient, and there will be great differences in the actual operation. If you are shy in the bag, you can directly use the sample tape recorded by seiyuu. In the past, the audio company had a sample of the voices of the seiyuu firms. In the online age, these samples were uploaded to the official website of the company. The master team compares these sound samples and selects a number of candidates in advance. Most of them, after picking out 3 to 5 candidates, convened these seiyuu to perform on the spot, and then finally negotiated to finalize the lineup. .

If money is not a problem, it will take a few days to get a sea election. Usually sent to the seiyuu a paragraph that can highlight the character’s personality characteristics, let them improvise. Sometimes, the character’s setting map is attached, and the character personality setting data is written. These materials were delivered on the same day as the audition, and also sent to the seiyuu office in advance, so that the firm can help recommend several suitable candidates. In short, it is roughly divided into the above two basic types of routines. .

Here I would like to mention the kind of gameplay works that have the original game, and many have already arranged the game version of the voice actor. For this type of work, some will follow the original lineup directly, while others will re-select the animated version of the dubbing. According to the experience of Ming Tianchuan so far, the seiyuu from the game version airborne, the sound of the animation, often sounds particularly awkward. The reason is that seiyuu, which specializes in game dubbing, rarely has the chance to play against other people. In the game, almost all of them are self-speaking in the role of a character, and therefore, there is a lack of dialogue training for you. .

In view of this, the animated version will deliberately re-elect. However, last year, the “Everything of Monsters” of the Monster Flat, which was supervised by Ming Tian Chuanjin as the sound supervisor, was very rare to copy the original team of the drama CD, and the entire recording process was very smooth. It is said that the drama CD is selected by the original author’s request, and brings together many senior industry actors. The lineup is luxurious. In a similar situation, the inclusion itself is smooth and smooth, but it is relatively troublesome to coordinate the seiyuu. Since the previous recording of the drama CD, everyone has grasped the essentials of the character, without the need for sound supervision, the collection process is extremely smooth, saving time and effort. I gave Mingtianchuan a good inspiration and felt that this kind of operation could be.

When scheduling the seiyuu lineup, Ming Tianchuan is most concerned about “the overall balance.” Even if the selected seiyuu are good, Mingtianchuan will put together the voices of these people to let the original author and supervisor audition. Soon everyone will find that the sound of each person is impeccable, but when they are put together, it will be difficult to distinguish. If you are a single-collection work, you can barely close one eye, but if you want to complete the recording of 13 or 26 words in the TV series, ensure the overall balance, so that everyone can do things with peace of mind. . .

Speaking of the balance of sounds, those actors who perform well-being will always respond to their opponents according to their performance. However, in many cases, the actors are still unable to do a good job. Even if the sound supervisor gives instructions for “please adjust properly”, the less experienced actors are more than enough. Therefore, the audition link is more used to examine the ability of an actor to respond. .

In short, for animated characters who are born silently, it is absolutely “the voice is also good and the voice is excellent”. When casting a role, whether the actor can control the role freely becomes the most important measure. I thought that when the Japanese TV animation was just emerging, it was based on the stage performers of the troupe, or the film and television actor who appeared in the show. These non-professional seiyuu practitioners took over the dubbing work in a part-time manner. At that time, the word “seiyuu” did not even appear. Under the background of this era, the first establishment of the seiyuu office was the founder of “Qing Er Production”, who had just passed away in February 18th. After that, the animation industry has gradually expanded. At the beginning, there were a total of a few companies that took animation production. There were only 4 or 5 episodes of play per week. After receiving a dubbing work of about 2 words a week, it was already a big seiyuu firm. Today, there are dozens of animations per week, plus mobile apps (such as mobile games). The seiyuu work has become more widely used, and many professional animation seiyuu offices and seiyuu cultivation institutes have been born. The number of people who use “sound” as the industry is increasing, and the number of choices is increasing. .

References: .

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• 【明田川進の《音物語》】第1回予算にあわせたオーディションのやり方と、声のバランスの大切さ