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. Whats 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
audiences 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
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