Lock Up 1989 Dvd CatchThe Lip Lock trope as used in popular culture. This is not a Kissing Trope. Just getting that out of the way.note You were probably thinking of this …. Lip Lock - TV Tropes"If a guy says, "my mother", he's gonna have two closed- mouth sounds, although if you're saying it in Chinese, it's going to be totally different. So, this is the thing you had to get around by substituting various words, and the Ms, Bs, and Ps, the closed- mouth sounds, were always difficult."— Ted Thomas, arguably the founder of dubbed foreign films in Hong Kong. This is not a Kissing Trope. Just getting that out of the way. Directed by John Flynn. With Sylvester Stallone, Donald Sutherland, John Amos, Sonny Landham. With only 6 months left of his prison sentence inmate Frank Leone is. Roll-N-Lock tonneau covers are the most versatile truck bed covers in the industry today. Learn more about our secure, high quality tonneau covers here. Offer popular replacement automotive locks at great discounts. LOCK ENTRY TOOLS. PICK GUNS & ELECTRIC PICKS. Mechanical Lock Pick Guns; Electric Lock Picks. The Planet is ours - where are we going!? With the global population soaring towards 9 billion people by 2050 current levels of meat and dairy consumption are not. Starrcade '89 was the seventh annual Starrcade professional wrestling pay-per-view event produced under the National Wrestling Alliance banner. It was the second. With Macdonald Carey, John Doucette, Joan Granville, Olive Carey. Cases taken from the files and case histories of renowned Philadelphia defense attorney Herbert L. Actie / Drama uit 1989. Geregisseerd door John Flynn, met Sylvester Stallone, Donald Sutherland en John Amos. The Package, a thriller involving political assassination and intrigue, is an excellent action feature using a familiar theme and providing good performances by the cast. Lock Up 1989 Dvd TaylorYou were probably thinking of this trope. When something gets dubbed into a language it wasn't originally in, that's when the trouble starts for this trope. The actors have to lipsync along with the old footage, which is tricky if they don't want to turn it into a Hong Kong Dub. Contrary to popular belief, the people who need to deal with Lip Lock are not the voice actors (who only act out what is written in the script) but the people who translate/write the dub script (sometimes the translator and the script writer are the same person, sometimes not). Script writers usually read lines out loud while writing, to make sure that they fit the mouth flaps. If the script writer doesn't pay attention to match the lip flaps, the result is that the new actors are forced to speak at strange tempos in order to better fit the lipflap. The main ways in which this is manifest are. In anime, the Japanese studios create the animation first, and then record the voices. This means that characters' mouth often just moves up and down, however, the larger the animation budget, the more effort animation studios make to make the lip flaps match the dialogue (Honey and Clover is a good example with mouth flaps that match the lines perfectly). With American cartoons, the voices are recorded first and the animation is built around them. This means the mouths move in a manner much more consistent with the dialogue, at the cost of making it more difficult to translate into another language. This difference can be very clearly seen in the English dub of AKIRA, a Japanese animated movie which, unusually, recorded the voices before the animation and took pains to make the mouth flaps match the dialogue. The result is that the English version looks distinctly off. Ironically, live- action dub scripts are easier to write because the natural movements of the mouth while speaking are a lot more vague than in cartoons. Due to the nature of dubs, no script writer can avoid the curse of Lip Lock. A skilled writer can make it a lot less noticeable, but can't do away with it entirely. There are ways of avoiding it, but all have their own disadvantages. Editing the footage so that the Mouth Flaps match the new dialogue. This is expensive in animation so it's very rarely used. It's also never used in live- action dubbing, because it's well- nigh impossible. It's a lot cheaper in video games, where all you need to do is edit the facial animation instructions (and the timing of events in a scene in- case the translation is shorter or longer than the original line), which can be handled by software, and tends to be used more often there. Doing it for in- engine scenes is simple; redoing a pre- rendered cutscene is effectively just like redoing an animated production. It is, however, used in abridged series like Team Four Star's Dragon Ball Z Abridged. The translator/writer getting creative with the translation so that the lines fit the Mouth Flaps better. This is what usually happens, sometimes leading to meaning being lost, or useless fluff being gained. The degree to which it's done varies but most translators try to find a compromise to match the lip flaps but also get the meaning across. Unless they just don't care.). Note though that this is an unavoidable product of every translation, be it dub or subtitle. The only exceptions are voiceovers, and only to a certain extent. Filming For Easy Dub: when there's no lipflap to mouth to, say the character is talking off- screen or standing with his back to the camera, the script writer's work is a lot easier. Forcing a dialogue off- screen, however, isn't really doable; even if it can be done, it screams of cost- cutting, despite the intention, and 4. Kids and 1. 99. 0s American anime dubs can once again demonstrate that it doesn't always work and why you shouldn't add dialogue in these scenes just because you can. A related and largely more effective method is when the character has No Mouth, so the translator just needs to match the length of time. Lord Zedd from Power Rangers is an example of this, and was voiced by a scriptwriter.). Also often used in movie dubs to great efficiency when the camera is focused on something written. Instead of just subtitling it, sometime the line will voiced, in a translated version, by a character off- screen, when it makes sense in context. If used well, you won't even notice the voicing of line wasn't in the original version. Considering the flak companies tend to get for playing with the original footage, it's best to just avoid it as much as possible by using good translators/script writers to keep the worst of the effects at bay. Of course, this does rely on the companies' ability to find good script writers. This is the hard part. Examples: Anime 4. Kids' tendency to do this is parodied mercilessly in this. Gag Dub of Higurashi: When They Cry, along with the Macekre'd dialogue and premise. Keiichi Casey: GET out - my way! I'm - going - to - a - FEE- ey- staaaa! Luffy: You and your NAVY.. Coby'slifelong. DREAM! Besides the normal edits to the dialog necessary for timing, the North American dub of Ranma ½ used a video editing system (Word. Fit)note Which used in nearly every other dub by The Ocean Group to tweak the mouth- flaps. The 1. 98. 6 movie dub of Fist of the North Star suffered from this a lot, though not as much as some of the other titles. Raoh: See.. It's different now.. I'm a king.. and a king.. The dub of Bobobo- bo Bo- bobo actually engages in some Lampshade Hanging regarding this. In episode 5. 3, Bobobo states "Now I'm going to tell all of ya where we're.. I just hope by the time we arrive I can speak without weird pauses.". As mentioned above, The Ocean Group dub of Dragon Ball Z has quite a few examples, the first being the (in)famous scene where Vegeta, voiced by Brian Drummond, is asked by Nappa what his scouter says about Goku's growing power level, at which point he takes the scouter off and growls "It's over nine thousa- aaaaaand!" before crushing it in his hands. This has since become an internet meme. Another instance of this elongated delivery is when Vegeta has Gohan by the scruff of his neck and says "I'm going to crush you like a grape in the palm of my hand, you understa- aaaaaand?!" in an especially raspy tone. In Gankutsuou, this actually resulted in the somewhat trite "Wait and hope!" of the original The Count of Monte Cristo being rendered into a memorable Catch Phrase uttered at the end of each On the Next Week's Episode teaser: "Bide your time, and hold out hope!" The dub of Death Note had the very Narm- inducing line (which was also both of the original creators' favorite part in the series): L whispering "I- wanted- to- tell- you, I'm L!", translated from a considerably shorter Japanese sentence, had the former line been spoken at a normal pace. Thankfully, Alessendro Julianimade it sound creepily intimate. The original line was "Watashi wa Eru desu", meaning: "I am L". The issue here was if it had been translated straight, there would have been about five extra syllables and mouth flaps left over, so they had to add something to get it to fit. The dubbing of Transformers Energon was notably bad about this; whenever there was an additional syllable needed, the dub had the characters say various things that sound like they were made up on the spot causing a constant stream of "what?", "uh?", etc. The Pain Count"). Transformers Cybertron suffered less from this and had a better dub script overall. Gash Bell suffered from this immensely during the musical numbers, in which the dubbers would insist on having the VAs sing along to the lip flaps at the expense of any sense of harmony and timing. The English dub of Revolutionary Girl Utena was a hallmark offender. Not only did the characters often have long, awkward pauses between most of their lines, occasionally rushed and abnormal dialogue, and flat- out not having the words sync up properly, but there are numerous instances (most notably, whenever the Student Council rides the elevator to the top of the school) where entire lines of dialogue are just cut- and- pasted from episode to episode. They did manage to improve somewhat for the movie. Spider Riders (of which an actual Japanese version may or may not exist) appears to feature this in spades, to the point where it takes several full episodes to get over the fact that most of the characters come off as having serious mental illnesses. Luckily, it seems like the actors (or the sound editors) get better and better as the series rolls on, so gratuitous pauses grow more and more rare. Strangely, some characters seem almost entirely exempt from this throughout the show. Will you be.. the Inner World's savior or.. The line is awkward enough with the strange pauses without being so horribly acted. Heroic Age has a rather hilarious example in the third episode when Age says that he likes to paint then enunciates it, so the dub has to act like "paint" has three syllables ("pa- ain- tu"). Digimon Adventure usually uses only one or two voice actors to say something in crowd shots; the rest of the scene is completely silent. In the Saban dub, on the other hand, they usually got a handful of voice actors for those scenes, which resulted in the crowd scenes sounding more natural, although harder to hear the "important" facts. The infamous Mega Man's death scene from Mega Man NT Warrior. As dying, Rockman originally had, as final words, "Ne.. As far as adapting goes, this was a tricky line for the dubbers.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
December 2016
Categories |