大多数各种配音都是在后期进行的，因为它们在拍摄阶段会受到各种噪音的影响，而且不能很好地显示声音特征。因此，许多手稿在早期的角色场景中都有理想的想象力。

　　因此，在后期配音中，配音人员需要在脑海中想象图片的变化顺序，使配音作品有目的地朝着明确的方向发展，并围绕作品的主题进行配音。

　　配音时也要细致推敲，展开想象和联想，使稿件中的近景或特写展现得更加具体真切，这就要配音员平时能多一些生活积累，丰富自己的感受，通过配音把受众带到情景中去，这样更容易让大众接受。

　　面对一些容易上口的手稿，很容易引起观众的情感波澜。此时，配音人员不能用自己的兴趣来创作，因为配音中有些生动的地方并不是所有的焦点。因此，配音人员不能毫无准备地跟随自己的感受。他们应该学会将整体布局集中在刀刃上，使重点明确，以吸引注意力。

　　因此，在配音时，我们不能用个人喜好来控制手稿，也不能逐字逐句地想象。我们应该遵循原稿的想法，找到主题聚集点。

　　在手稿的基础上，在为广播目的服务的主要场景中，我们应该学会用自己的经验来补充和丰富，我们可以用间接经验来补充和丰富，听到和目睹经验，使场景更加逼真。

　　配音人员每天接触的手稿有广泛的内容和主题。他们不可能对手稿有深入的生活经验。要播放这些手稿，他们应该或多或少地利用间接经验或根据生活的积累来丰富和补充它们。这就要求配音人员勤于思考，善于分析，向生活学习，在日常生活中积累材料，使用方便。

　　为了让我们的配音创作受到更多观众的喜爱，情感和思想需要尽可能深入生活，与观众产生共鸣。配音人员应遵循手稿的基本思想。

　　Most of the various dubs are done in post because they are subject to various noises during the shooting stage and don't show the sound signature very well. As a result, many manuscr1pts have ideal imaginations in early character scenes.

　　Therefore, in the later dubbing, the dubbing personnel need to imagine the changing sequence of the pictures in their minds, so that the dubbing work develops in a clear direction, and dubbing around the theme of the work.

　　When dubbing, it is necessary to scrutinize carefully, expand imagination and association, so that the close-up or close-up in the manuscr1pt can be shown more concretely and realistically. This requires that the dubbing staff can accumulate more life, enrich their own feelings, and bring the audience into the scene through dubbing. Go, it's easier for the public to accept.

　　Facing some catchy manuscr1pts, it is easy to cause emotional waves in the audience. At this time, the dubbing staff cannot create with their own interests, because some vivid parts in the dubbing are not all the focus. Therefore, voice actors cannot follow their own feelings unprepared. They should learn to focus the overall layout on the cutting edge, so that the focus is clear to attract attention.

　　So when it comes to dubbing, we cannot control the manuscr1pt with our personal preferences, nor can we imagine it word for word. We should follow the ideas of the manuscr1pt and find thematic gathering points.

　　On the basis of the manuscr1pt, in the main scenes that serve the purpose of broadcasting, we should learn to supplement and enrich with our own experience, we can supplement and enrich with indirect experience, hear and witness experience to make the scene more realistic.

　　The manuscr1pts that voiceovers come into contact with on a daily basis have a wide range of content and themes. They are unlikely to have in-depth life experience with the manuscr1pt. To play these manuscr1pts, they should enrich and supplement them more or less with indirect experience or according to the accumulation of life. This requires dubbing personnel to be diligent in thinking, good at analysis, learn from life, accumulate materials in daily life, and use them easily.

　　In order for our dubbing creation to be loved by more audiences, emotions and thoughts need to penetrate into life as much as possible and resonate with the audience. The dubbing staff should follow the basic idea of ??the manuscr1pt.

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