jn3800

AUDIO
Today
Origins: Broadcast
 Traditionally a linear

process

 Listening to a

standard broadcast is
passive

 Radio and more

c...
Kit requirements

 Audio can be recorded by a

number of devices
 Dictaphone
 Telephone

 Conversion between file

typ...
Quality
 TOP TIP: Always try to acquire recordings at the

highest quality possible
 CD
 Dictaphone
 Telephone

44.1 K...
Audio Production: Stylistic approaches
 Clips: Short, sharp bursts of

information that convey
essential information

 P...
How this might work on a
digital platform…
 Combined with other

media elements rather
than a standalone report

 Comple...
What’s happening online
Journalistic potential
Journalistic process
 Ask yourself
 Is audio the appropriate

medium?
 Can it be used to add
breadth or depth to your
p...
Interview technique


Be nice



Control your environment



Ensure the interviewee gives name, rank and
serial number
...
Broadcast
voice
 Scripting: control your audio
 Aim for around three words a

second (a pace that is too fast
or two slo...
Post production considerations
 Editorial
 Sound can be used to illustrate a story, and add texture
 Descriptions need ...
Final checks
 Does it make sense?

 Does it flow?
 Can you hear everything and understand it?
 Is the subject matter a...
Distribution: Podcasts and social
media
 Podcasting
 Publish to the world
 RSS feeds can stream audio to users on deman...
Flickr


Ian Hayhurst




Fernando Candeias




Matt Blaze




tjmwatson




Will Hastings




Joriel "Joz" Jim...
Upcoming SlideShare
Loading in...5
×

Jn3800 2013 audio

148
-1

Published on

Published in: Technology, Business
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
148
On Slideshare
0
From Embeds
0
Number of Embeds
1
Actions
Shares
0
Downloads
2
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

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
  1. A particular slide catching your eye?

    Clipping is a handy way to collect important slides you want to go back to later.

×