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Jn3800 2013 audio

  1. 1. jn3800 AUDIO
  2. 2. Today
  3. 3. Origins: Broadcast  Traditionally a linear process  Listening to a standard broadcast is passive  Radio and more comprehensive recordings need to create a ‘texture of sound’  Additional editorial intervention sometimes needed to frame audio pieces
  4. 4. Kit requirements  Audio can be recorded by a number of devices  Dictaphone  Telephone  Conversion between file types may be required:  Think about  compatibility  compression
  5. 5. Quality  TOP TIP: Always try to acquire recordings at the highest quality possible  CD  Dictaphone  Telephone 44.1 KHz 22 KHz 8KHz 44.1 KHz means the recording device will ‘sample’ the sound 44,100 times a second
  6. 6. Audio Production: Stylistic approaches  Clips: Short, sharp bursts of information that convey essential information  Packages: Incorporates script and interviews on a specific theme or issue  Long-form documentaries: A more in-depth, and immersive experience  Bulletins: Live news flash based around breaking information
  7. 7. How this might work on a digital platform…  Combined with other media elements rather than a standalone report  Complements written or image-based material  Separate angles/approaches/opini on used to augment central report
  8. 8. What’s happening online
  9. 9. Journalistic potential
  10. 10. Journalistic process  Ask yourself  Is audio the appropriate medium?  Can it be used to add breadth or depth to your piece  Ensure you follow good journalistic practice  Do not misrepresent and be faithful to your interviewees intention.
  11. 11. Interview technique  Be nice  Control your environment  Ensure the interviewee gives name, rank and serial number  Aim to ask open questions  Avoid utterances such as: yeah, a-ha, mmm…  Try not to interrupt  Use silence to your advantage  Repeat if required  Say thanks
  12. 12. Broadcast voice  Scripting: control your audio  Aim for around three words a second (a pace that is too fast or two slow impacts on overall effect)  Control your interviewee to ensure your content is usable
  13. 13. Post production considerations  Editorial  Sound can be used to illustrate a story, and add texture  Descriptions need to fuel audience’s imagination  WARNING: Working with audio (and video) can be time- consuming  Technical  Tidy, remove noise and equalise if required  FX and other additions  Music and other sound effects can be used to move story forward  Additional tools of fade outs/ins, silences and voice manipulation can prove useful
  14. 14. Final checks  Does it make sense?  Does it flow?  Can you hear everything and understand it?  Is the subject matter and interviewee responses accurate and in line with original intentions?
  15. 15. Distribution: Podcasts and social media  Podcasting  Publish to the world  RSS feeds can stream audio to users on demand  Social tools  Share audio files with your followers, and add a social element to your audio work. First person accounts can be effective and emotive  Audioboo  Soundcloud
  16. 16. Flickr  Ian Hayhurst   Fernando Candeias   Matt Blaze   tjmwatson   Will Hastings   Joriel "Joz" Jimenez   The National Guard   PolandMFA   formulapuff