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Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
Jn3800  2013 audio
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Jn3800 2013 audio

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Transcript

  • 1. jn3800 AUDIO
  • 2. Today
  • 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. 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. 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. 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. 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. What’s happening online
  • 9. Journalistic potential
  • 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. 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. 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. 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. 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. 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. Flickr  Ian Hayhurst   Fernando Candeias   Matt Blaze   tjmwatson   Will Hastings   Joriel "Joz" Jimenez   The National Guard   PolandMFA   formulapuff

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