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Telling The Audio Story

Telling The Audio Story. Kathy Gill 22 April 2009. How Audio Differs From Print. Don't tell. Show. Concrete language Evocative language Effective use sound (don't say it's noisy, provide background sound) Active tense Edit, edit, edit!. Tips For Good Story. Listen!

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Telling The Audio Story

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  1. Telling The Audio Story Kathy Gill 22 April 2009

  2. How Audio Differs From Print • Don't tell. Show. • Concrete language • Evocative language • Effective use sound (don't say it's noisy, provide background sound) • Active tense • Edit, edit, edit!

  3. Tips For Good Story • Listen! • Close your eyes right now -- what do you hear? • Be Authentic. • If you don't care, why should we? • No "gotchas" (don't edit to change meaning • Use sounds from the site, not from somewhere else -- that is, don't put train whistle in the background if there was no train

  4. Chasing Fire In The Amazon • NPR reporter Christopher Joyce on fires in the Amazon • Story told in three separate forms: traditional NPR radio story … still photos with captions … text for the web • http://www.npr.org/templates/story/story.php?storyId=16182652

  5. Why Use Sound? • Interviews capture voices • Ambient sound can establish mood or provide a sense of place • Sound effects can focus attention • Music can signal transition or establish mood • Voiceover – the narration – weaves the elements of a story together

  6. Before You Begin • What is the story and why do you need sound? • How long should it be? • Develop open-ended questions • Encourage stories, anecdotes

  7. Recording Plan • Before you head for the interview or event, brainstorm possible sounds to record at the primary location as well as any secondary ones • Prioritize them! • Always record “white noise”

  8. Sounds & Interviews • The location of the interview becomes more important than with a print story • Restaurant feature • Interview in the kitchen? • Interview where customers are seated? • Interview in an office? • All have different ambient sounds • Ask open-ended questions … and NOD (don’t “ummm” over their voices!)

  9. Ambient or Natural Sound • General sound that fills the background of the primary recorded sounds (cite) • Ambient sound can set mood • “Background” noise like conversation in a coffee shop • It can also provide context • Espresso machine, construction site noises • Be sure to record a minute or two of background “silence” as well

  10. Be Flexible • If your primary source isn’t very talkative … or is hard to understand … then this material may become part of your voice-over • Ask for suggestions for others to interview

  11. When You Forget • Is it ethical to grab background sound from a service or from some other restaurant?

  12. Getting Good Quotes • You’ll need full sentences for an audio quote (usually) … where a phrase would work for print story • Say ‘tell me more about that’ or consider asking to repeat answer in full sentence • Ask questions that elicit word pictures!

  13. Gear: The Mike (Form) • Lavaliere microphones are clipped to clothing, close to mouth, and are unobtrusive • “Opposite” of the image we have of microphones • All can be wired or wireless

  14. Gear: The Mike (Sound) • Omni-directional mikes pick up sound from all directions • Cardioid (dynamic) mikes pick up sound only from one direction: where they’re pointed • Super-Cardioid mikes are used when a specific sound is needed in a noisy environment

  15. Gear: The Recorder • MiniDiscs and DAT recorders • Hold high quality digital audio (DAT = digital audio tape) • Direct To Disc • Save on flash memory; sometimes proprietary format; audio may not be as high in quality • In a pinch: your cellphone!

  16. Gear: What Else? • Cables for every mike connected to the recorder • Headphones to check recording levels • Batteries! • Media • Notebook & pen • Notes may help you find key quotes more quickly • A bag to hold it all

  17. Recording Tips • “Ps” and “Ss” • Avoid having mike directly in front of the source’s (or your own!) mouth • Getting The Right Sound • Arrive early; close your eyes and listen; ID the sounds you hear – now record them! How do they help you tell your story?

  18. Production Process • Creating The Log • Paper Edit • Scripting • Narration • Edit & Mix

  19. Creating The Log • Create a rough transcript for each interview; mark times (min/sec) • It’s the fastest way. Really.

  20. Paper Edit • Start assembling the story from the log file • Copy & paste favorite clips (actualities, in radio parlance) into the document • Try to keep them short-ish (10-30 seconds) • How many? Depends upon how long the story is and the style of the show

  21. Scripting • Write your lede • Arrange the quotes • Develop your transitions • Should not repeat what’s in the interview • Here’s where you may add sounds you have recorded • Write your conclusion • Conversational, Conversational, Conversational! • Balance clips, voiceover, sound

  22. Narration • Voiceover can be “over” ambient sound or “in the clear” • Practice • Drink Water • Remember mike placement • Long pauses when you mess up … to make it easier to edit out

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