Download A Guidebook for Strategic Presentation in the Rich

A Guidebook for Strategic Presentation
in the Rich-media Communications Era
By Robert L. Lindstrom
http://presentersuniversity.com/visuals_being_visual11.php
Several years ago, I asked the then-head of Accenture’s new media division what courses
he would recommend to a business student in today’s world. Without skipping a beat he
said, “Tell them to take drawing, painting, video production, music composition, graphic
design, 3D animation and any other media arts class they can find.” He also suggested a
strong background in liberal arts, including sociology, psychology, history, literature and
philosophy. “But what about business courses?” I asked him. “Sure, tell them to take a
few of those, too. Though I’m not sure what good they‘ll do,” he replied with a smirk.
The gentleman was making two vital points. First, in today’s reality, business is an onthe-fly proposition. A Harvard MBA won’t necessarily hurt, but what really counts is the
ability to make informed, creative decisions quickly and in context with the prevailing
economic conditions. Having the wisdom to combine an understanding of the real-time
dynamics of the business world with a fundamental understanding of human nature is the
definitive business skill for the 21st century.
His second point was also clear and speaks directly to the purpose of this book. In the
new era of business, the ability to communicate in the language of rich-media is mission
critical. As we saw in Chapter Three, rich-media literacy is rapidly becoming an
indispensable skill for businesspeople. That means even those of us who do not usually
create media content, will have to know at some basic level how to develop and use
media effectively. Unless we are willing to risk the loss of business opportunity due to
media misuse, we all will need at least a rudimentary grasp on how rich media works to
inform, teach and persuade. Even if we do not become adept media creators ourselves,
we must have a clue about how pictures, sounds, music and motion work their
communications magic.
A Keener Eye
Few businesspeople are trained in the media communications arts. Don’t blame the
business schools. Well, okay, blame the schools. But keep in mind that the rich media
communication revolution has burst in on us in a relatively short period of time. We are
only just now adjusting education to the new media realities, albeit far too slowly. And
so, few people working in business today are trained to take a decent digital photograph
much less produce a dynamic video sequence.
I am not for a moment suggesting that we all run out and train to be cinematographers,
graphic artists, musicians and animators. There will always be specialists in media
creation and production to add artistry to rich media-enabled communications. But what
we do need is a heightened aesthetic sense, a deeper understanding of media that tells us
when a media communication element is working effectively and when it’s stinking up
the place. Think of it this way. It is not necessary that everyone who prepares a meal have
the skills of Wolfgang Puck. But if you ever plan to pick up a pot and do some cooking,
you had better know the difference between sugar and salt, rancid and fresh, tasty and
bland.
Ironically, most of us think we know good graphics from bad graphics and great video
from so-so video. We think that just because we have slapped together a PowerPoint
presentation using the design wizard we are on our way to media fluency. While it is true
that living in a media-saturated culture tends to elevate our media taste levels, do we truly
know why the colors used in that presentation we saw were so pleasing? Do we
understand how the background music created just the right mood? Do we know why the
pacing and camera angles of the video demonstration grabbed our attention and conveyed
the right message? Similarly, if you put a camera in our hands and tell us to shoot the
scene, do we know how to frame the picture, where to place the emphasis, when to snap
the shutter for best effect?
What follows is a brief introduction to the basic elements of rich media and a few of the
simplest rules of rich media communication. This section is not intended to make you an
artiste. It is meant to raise your awareness of the power and processes of rich media. It
may seem at first that this information is not for you. But have no doubt, the better you
understand how media elements influence the communication process, the more
successful you will be in all your business activities, now and in the future.
Media Impact
Rich media elements can be divided into roughly three categories:
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Still Graphics -- illustration, photography, photo composites, diagrams, charts,
borders, backgrounds, textures and any other visual elements that are static on the
page or screen.
Motion Visuals -- video, movies, motion graphics, hand-drawn and computergenerated animation. These elements are dynamic or time-based.
Sound -- narration, sound effects and music. Sound is also a dynamic medium.
We will spend a bit more time on graphics than with the dynamic media. In general, the
rules and aesthetics for graphic design apply to all visual media.
STILL GRAPHICS
In our daily lives we are surrounded by graphical elements on products, on signs, on
buildings, on clothing, on cars, on skin, on just about everything fit to print. Graphical
elements range from the small dash of color or simple page border to evocative
photographs and elaborate illustration. The process of creating and arranging graphical
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elements is called graphic design. In business communications, we use graphics and
graphic design to grab attention, to transmit information, to convey concepts, to generate
mood, to gain recognition and to enhance retention. In most business communications,
there is (or should be) a clear purpose and message. The goal of the graphics and graphic
design is to assist in the successful conveyance of the message.
As with all types of visual communication, the power of graphics, whether they appear in
print, onscreen or combined with other media elements, resides in their ability to convey
messages thematically, literally and symbolically. Graphics can be used in a
straightforward way to highlight important ideas while pushing less significant details to
the background. They can be designed to subtly interact with the content to establish
mood and tone. Frequently, graphics are used to create continuity. A corporate logo, for
example, connects the image of the company with all of its various products and
activities using a consistent repetition of pattern and color. In business, graphics often
convey such intangibles as competency, professionalism, creativity, credibility, reliability
and strength.
Here are a few key principles and techniques of graphic design to raise your awareness of
what is going on visually in the communications you see and work with every day.
Visual Clarity. Clarity is the main goal of good visual communication design. The
moment a viewer looks at a page or screen it should be obvious, consciously or
subconsciously, what is important and what is not. The cardinal rule adhered to in all
good graphic design: Know what not to include. It is common in poor designs for
information to be clouded and distorted by trying to accomplish too much at one time-too many messages, too much information, too many ideas, too many feelings. The
unwanted interference results from the way such elements as images, shapes, texture,
line, line weight and color compete for the viewer’s attention, and the way those various
elements sometimes work against each other.
For example, on the page you are looking at the largest area is dedicated to the text
because that is what this page is about. Take a look at the rest of the elements. Do they
distract from the main purpose of the page? Is it clear what each element is for? Is there
enough white space to let the page breath, or is there too much distracting clutter?
Keep in mind that good information can be obscured by bad design. On the flip side, it is
also a fact that good design cannot do much to salvage bad information. As you go about
your day, use the Mr. Magoo squinted-eyes technique to evaluate layouts in documents,
presentations, billboards, magazines and whatever other works you come across. Close
your eyes until the text and images blur and all you see are shapes and patterns. Look for
conflicts between graphical elements. Can you identify the central messaging element? If
it fails to stand out the screen is probably too crowded or the design is fighting itself.
Borders. Every graphic exists in relation to the borders of the design area. On a computer
screen, a projection screen or in a magazine layout the rectangular edges of the display
area confine the graphical elements. Therefore, it is important to first be aware of the
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size, shape and position of the graphics in relation to the display area.
Layout. Once you’ve got a sense of the visual real estate, notice the layout. Good
graphical communication and proper use of the display area relies on the effective
arrangement of visual media elements within the given area. Look at this page and you
will see various media elements arranged on a grid. Though the grid is not visibly
marked, the grid guides the information designer in the placement of media elements and
creates an underlying map for the viewer. Spend a moment to identify the borders and the
grid on this page. Notice how each of the graphical elements is positioned. Does the
layout highlight the important information? Does it serve the purpose of making the
information easy to identify and locate? Do subsequent pages (or screens) have a
consistent layout to aid navigation?
Balance. Next, assess the overall balance of the layout. Balance is the collective visual
effect of all the various graphical elements on the page or screen: text, graphics,
windows, gutters (space around edges) and negative space (space between objects.)
Balance does not mean that objects must be symmetrical. In fact, most professional
designers frown upon symmetry for its lack of visual interest. Balancing a layout means
juxtaposing elements in such a way that the design area does not feel uncomfortable-unless discomfort is what the designer is after. For example, if all of the navigation
elements on this page were arranged at the very top of the layout, and only a narrow text
box was displayed below, the design would be seriously out of balance. Like a person
with a head ten times too big for his body, the bulk of elements at the top would seem to
be crushing the elements below, and the result would feel peculiar to the viewer.
Rule of Thirds. Designers frequently rely on what is referred to as the rule of thirds to
keep layouts visually interesting and well balanced. Rather than centering objects on the
vertical or horizontal axis, the display area is divided into equal thirds in both planes. As
a rule, images that are offset from center in either direction command more visual
interest. The first thing you are taught in Photography 101 is do not position the head of
your aunt Gladys in the very center of the frame. The use of thirds creates an active
relationship between graphical elements and the borders. Images set in thirds create a
feeling of movement, as the images seem to lean toward the central axis. In the example
below, when the bottom of the building is aligned on the center horizontal axis the photo
looks dull, static and symmetrical. Moving it down so that it fills the center third adds
rhythm, balance and proportion to the design that the human eye finds appealing.
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Diagonals. Within the context of a grid, you are not limited to up/down, left/right
orientation. Diagonal lines or diagonal compositions add interest and attract attention.
Diagonals also suggest a direction for the viewer to follow. Perceptual studies have
shown that photos or illustrations set at a slight angle on the screen hold the gaze of the
viewer for a longer period of time than the same elements placed on the horizontal. While
squinting at a layout, such as a magazine ad, notice when your eyes move up or down at
an angle. Then try to determine the diagonal in the design that directed your gaze.
Power of Centers. Design theories are rife with exceptions. One of these is referred to as
the power of centers. In violation of the rule of thirds and contrary to the use of
diagonals, there are certain times when the best place to put the key element is dead
center. This layout technique works like an archer’s target, drawing the viewer’s focus to
the bull’s eye. Centered layouts are sometimes used for large images that would
otherwise throw the composition out of balance if put to one side or in one corner. As in
the image below, sometimes centering is the logical layout.
Color. The power of color to influence our emotions, perceptions, moods and actions is
well studied and well documented. Even so, the use of color remains one of the most
subjective elements in the visual communications process. At the very least, creating or
evaluating visuals for business communications requires a rudimentary understanding of
color theory.
The three fundamental and objective uses of color in visual business communications are:
identifying, contrasting and highlighting. In a chart or graph, for example, you might
identify fourth quarter sales in blue; show profits in green and show losses in red. In
addition to helping the viewer identify the data, the colors also draw a visual distinction
between the data. The selection of the color or the color intensity is often used to
highlight the most important content.
On the subjective side of color usage, color conveys mood, atmosphere and feeling.
Studies have proven that the same colors can have different connotations that vary
according to the audience, the message and the context in which they are presented. Red,
for example communicates warmth, life, love and passion. But it can also connote failure,
danger, revolution or the Devil. Yellow sometimes suggests sunlight, wisdom or ripeness.
Other times it suggests treachery, cowardice or illness.
There are any number or books with color charts and detailed descriptions of color usage
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and effects. It is a good idea to have one on the shelf for reference when putting together
a color presentation or evaluating a media project. The important point here is to think
about color. Notice it not only for its visual appeal but also for the function it serves in
conveying the message.
There are dozens of other factors to consider when using or evaluating still graphics,
including repetition of elements, parallels, convergence points, divergence points, curves,
straight lines, textures, gradients, lighting and shading. Even a simple book or video
about graphic design is worth taking a look at. Most people are surprised how quickly
they learn to notice design elements, which is the first step toward a heightened
awareness of media aesthetics.
MOTION VISUALS
We live in a dynamic world--a world of motion. Motion is an attention grabber. We
cannot resist it. Notice when you look at a scene in real life how easily your eyes are
drawn to anything that moves. The power of motion to grab our gaze is no secret to
television commercial producers. Next time you are watching a TV commercial notice
there is always motion on the screen. Even if the subject is not moving, the camera is.
Just where does the power of motion originate? How and why does it have such a potent
affect on people? Experts postulate that human beings evolved our instincts for detecting
motion as skills for hunting and self-preservation. When we see something move we
focus on it so that we can determine whether we should eat it or whether it will eat us.
In rich media-enabled business communications we exploit this natural instinct. We use
motion to:
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Hold interest and attention
Increase comprehension levels
Communicate abstract concepts and ideas
Demonstrate complex or dangerous processes
Stimulate emotional responses
Create subconscious associations
Convey the dynamics of actual events
Motion has the power to motivate, influence and persuade. Therefore, in a world awash
in dynamic visuals, it pays to have a basic understanding of how motion communicates.
At the mechanical level, video, motion pictures and animation work by delivering a series
of still images rapidly and in sequence to create the illusion of motion. Video’s ability to
not only capture but also store and replay information makes it the closest and easiest
medium we have for communicating a representation of our dynamic reality. In effect, it
makes reality portable. Animation and video special effects give us the freedom to go
beyond reality and create motion where there is none or to depict motion processes that
cannot easily be seen.
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Video and animation are excellent media for demonstrating or clarifying complex
processes. If we want to depict the procedure for building a car, for example, we might
use still photographs showing different stages of the process. But if we want maximum
clarity and detail, we turn to video and animation to recreate as closely as possible the
actual actions it takes to build it.
Keep in mind that the reality we convey with motion images is always a subjective
reality. No matter how gritty and real the images, such things as scene composition,
camera angles, lenses, lighting and editing are choices that reflect the intention or point of
view of the producer of the video or animation.
The following are a few of the key aspects of crafting motion visuals. As mentioned,
these elements are presented here to raise your motion media awareness, not to teach you
how to be Stephen Spielberg.
Composition.Composition as it applies to motion is very similar to composition and
layout as it applies to still graphics. Motion visual composition refers to the arrangement
of elements--the visual organization--within a frame or on the screen. The fundamental
difference between static composition and dynamic composition is that objects and
backgrounds in a motion visual scene relate to the space and each other over time. Their
relationship is in flux.
Choreography. The impact and harmony of the scene in a video or animation derives not
from a single element or an arrangement of elements but from the effect of the
interactions, or choreography, between elements. The choreography of visual elements in
film closely parallels the choreography of dance. The various components that make up
the scene are prepared and brought together. Then the scene is started. The dance begins.
The choreography of film refers to the action or instructions--general, specific or
spontaneous--that guide the individual elements in their movements. Typically, the
choreography in a video or animation is the responsibility of the director. The director
determines how the elements are composed and how they should interact, both physically
and emotionally. The same goes for even a simple animation without any characters.
Next time you see an animated chart or graph, notice which elements move and why.
Also notice how elements move in relation to one another.
Direction and Angles. In video and animation, the producer of the content controls the
perspective of the viewer through the application of motion visual techniques such as
perspective, focus, angle and direction. The techniques are used both to convey literal and
realistic depictions as well as to generate subconscious or subjective impressions in the
viewer. For example: A video sequence opens in an office. The camera swings (pans) to
the right past identical cubicles of frustrated office workers struggling with their
computers and leads the viewer’s eye to the right side of the screen where there is an
elevator door. The movement creates a sense of anticipation. A smiling woman steps out
of the elevator holding a new box of office productivity software. The left to right
movement of the camera meets the right to left movement of the character, establishing
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the focus of the scene and signaling the importance of the woman and the package.
Most of us will never be highly adept at shooting and directing a video production, but
we can become aware of the basics of such things as camera position and movement. One
way to do this is to watch the same video or animation scene repeatedly. Imagine you are
selecting the angles and moving the camera. Then ask yourself what was the intent of
each angle or perspective.
Editing. Editing refers to the way different scenes or shots within scenes are organized or
sequenced to tell the story. How a scene or series of scenes is edited impacts not only the
coherency of the message but also influences the subconscious perceptions of the
audience. A simple example: After the scene of the woman stepping off the elevator, the
editor might insert a long scene showing the woman opening the box, removing some
new office productivity software, installing and then running the software, followed by a
scene depicting the employees working happily and productively at their computers. Or,
in what is knows as a “cause and effect” editing technique. The editor might jump from
the unhappy office/elevator scene (the cause) directly to the happy and productive office
scene (the effect.) Even though the interim story is missing, the message is conveyed. Try
watching a short piece of video that contains multiple edits. As you view it several times,
ask yourself why the editor chose to sequence the shots in that order? What did they do
for the story? How did they enhance the emotion of the sequence? How did they help to
convey the message?
Rhythm and Pacing. Visual rhythm and pacing refer to the frequency of scene or shot
changes and how often and how rapidly the camera moves. Changes create a tempo that
is controlled by the director and editor to elicit a desired effect. Regularly spaced
transitions at a leisurely pace, for example, create a steady, reassuring (if monotonous)
rhythm. Staccato, irregular shifts produce a jarring and chaotic rhythm. The goal in a
video or animation segment is to match the rhythm and pacing to the desired mood and
message of the communication. The factors that determine the optimum duration for a
shot or a sequence of shots include not only the nature of the message and its complexity
but also the audience demographics and interest levels. One of the best ways to study
rhythm and pacing is to watch music videos. Pay attention to how the pace of the scene
changes and how the overall rhythm of the video synchronizes with the music. Notice
how the pace and rhythm affect the emotion and mood.
As with other media, the objective of any businessperson working today should be to
become as familiar with possible with how motion influences media communication. A
few final points to watch for as you familiarize yourself with the notion of motion:
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Viewers tend to lock their eyes onto a moving object, even when the object is
initially positioned on the periphery of the screen.
Moving subjects tend to dominate inanimate objects within a frame.
In video and animation motion is achieved by changing the position of the object,
or the position and angle of the camera, or both.
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Camera movement, subject movement and transitions coax the eye in the
direction of the motion.
The point of concentration at the end of one shot should lead the eye to the point
of concentration at the beginning of the next.
SOUND
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Rich media-enabled business communications are dominated by two of our
primary senses: vision and hearing. But, oddly, sound is frequently overlooked as
a means of conveying information and stimulating emotion. Why? The reason is
simple. The power of sound to influence and persuade is, for most people, a
mystery. How do you measure the contribution of piece of music or a background
sound effect to a business message? Why is it that one narrator’s voice is so much
more persuasive than another’s? When is music a good idea and when does it
interfere with the persuasion process?
I have a solution to the underused and undervalued status of sound: Take my word
for it, sound sells.
Of course, that is no secret to composers of film scores, sound effects artists or
media producers, who spend their careers learning the subtleties of sound and
music. They understand the ability of sound to influence thoughts and feelings, as
well as its value in prompting the listener to pay attention and take action. And so,
as if there wasn’t already too much to learn about visuals, we must also learn to
be at least somewhat savvy with sound.
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As a tool and technique for improving business communications, sound offers the
following benefits:
Attracting attention
Triggering emotions
Adding emphasis
Conveying ideas
Setting tone and mood
Integrating images and ideas
Increasing receptivity
In many respects, sound design is as important as visual design. Sound design refers to
the artful mixing of audio elements to achieve the desired conscious and subconscious
influence on the listener. That may seem like a complex process that should be reserved
for professionals and artists, but there is no reason that businesspeople cannot become
adept at understanding the basics of good audio production and communication.
To get you started, here is a brief rundown on the three main forms of sound elements
found in business communications: narration, sound effects and music.
Narration
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Narration refers to the voice track that accompanies a video, animation, still images, or in
some cases, a live event. The trick to good narration is using the right words at the right
time with the right tone. Good narration is no different than good speechmaking, except
that narration is most often a pre-recorded element presented along with visual media and
is therefore subject to editing and re-recording. Narration can be direct and informative,
as well as evocative, subtle or expressive. Because words and vocal inflections are easily
misinterpreted narration should be handled with care and attention.
Some tips to help you use narration effectively:
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Know which points you wish to give precedence
Decide which words best describe your key points
Select words that have a clear relationship to the images.
Decide what tone the narrator should assume
Determine how the narrator’s voice will complement other audio elements
Writing. Writing good narration is a matter of imparting the maximum meaning in the
fewest words. Effective writing does not dictate, it persuades. It also does not merely
provide facts. It sparks ideas and paints pictures. Good narration writing describes more
than what can be seen or inferred from the visuals. It draws attention to important points
that might be overlooked. It complements the visuals by bringing to the audience more
information that what they see. Perhaps the most important point to remember about
writing is that it is every bit as much of an art as illustration or filmmaking. Many people
tend to think that because they write a mean letter, they are also qualified to write
narration. Not so.
Pacing. The pace of the narration is dictated by the message and intent. Detailed
information and complex visuals might require a smooth and studied pace. Narration
announcing an upcoming event might demand an energetic and varied pace. Generally,
all narration should be paced slower than normal conversation and should be delivered, if
possible, with a specific audience in mind. Pacing should be varied. Failure to vary the
pace of the narration will cause wordsandideastoruntogether and the audience will soon
lose concentration, or worse.
Naturalness. To avoid narration that sounds "written", a narrator should be encouraged
to improvise or paraphrase, concentrating on the message rather than the quality of the
delivery or the literal meaning of the words. Plenty of time must be allowed for the
addition of pauses and use of inflection. Sometimes the stunning voice and brilliant
verbiage of a narrator is allowed to overshadow the message. This might seem to be a
good idea when attempting to mask a weak message. But if the message is weak, the
narration won’t help.
Tone. Tone is arguably the most important aspect of narration, but the least understood.
Tone is the feeling imparted by the words and voice of the narrator. In a sense, tone is the
attitude of the communication event. The right tone is one that blends seamlessly with the
onscreen text, graphics, photos, video and other elements in the presentation. When the
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tone is wrong, the narration calls attention to itself and the audience is distracted from the
message. Even worse, the tone can send the wrong message. Finding and maintaining the
proper tone requires that the writer and the narrator be intimately familiar with the
message.
Sound Effects
Sound effects are the punctuation marks in the paragraphs of life. They are the noises that
things make. They are the clues and cues to explaining what we see. We live with sound
effects all around us--in daily life, on radio and in film and on television. (In the golden
days of radio sound effects were the “visual sound track” for radio drama.) When sound
effects in rich media communications are good, they enhance the message. When they are
bad, they turn comedies into tragedies and dramas into farce.
Business communicators use sound effects to:
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Add audible texture to visuals. (A skidding car, cheering crowd)
Provide thematic cues. (A ringing cash register, a fog horn)
Emphasize key points. (A trumpet fanfare, exploding fireworks)
Add entertainment value and humor. (A slide whistle, a flushing toilet)
Increase depth and richness. (Humming machinery, ocean waves)
Signal a change of view or scene. (A turning page, a closing door)
Enhance subconscious reactions. (A ticking clock, a far-off siren)
Listen for sound effects in presentations, in movies and on television. Turn off the sound
and notice how much of the meaning and emotion of the scene is lost. Take some time
and go through a sound effects collection on a CD-ROM or on the Web. You will find
that simply hearing certain sounds will spark ideas on how effects can be used to increase
the impact of your communications.
Music
Music is present in every culture. Its history predates most civilizations. It communicates
feelings, triggers emotions and summons forth memories. Before "talkies" added dialog
to movies, music was the audible language of motion pictures. When sound tracks were
added, music remained. Why? Because filmmakers already understood then what
musicians have known throughout history--music conveys messages that cannot be
spoken. Since well before the advent of digital recording and multimedia, music played a
major role in business communications, particularly to convey messages of importance.
Yet, until digital audio, MIDI and clip media came along, scoring a presentation or
adding music to any business media production, remained nearly as complex as scoring a
film. Today, businesspeople and producers have access to much of the same evocative
power that filmmakers have used for more than a century, but at far greater ease and
relatively low cost.
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The composer Igor Stravinsky once said, “If, as is nearly always the case, music appears
to express something, this is only an illusion and not a reality.” The meaning of music is
not literal. Music contributes to the mood and tone of a business communication event. It
evokes feelings in the listener. Granted, the music used in most business communications
does not attempt to compete with the score of Star Wars, nor should it. But the use of
music to enhance communications is an opportunity that should not be overlooked. Here
are a few attributes of music to be aware of:
Voice. Music can assume an active voice, passive voice, or both. An active voice makes a
direct correlation between the music and the visual elements. Example: A collage of
images that changes on selected beats of the music. A passive voice plays in the
background without direct connection to the individual events in the presentation.
Example: Mood music playing under the narration.
Tone. Tone is the overall impression conveyed by the music. Tone is established by the
consistent use of musical style, choice of instruments, pacing, tempo and key selection.
Unless a discordant feeling is what you are after, it is crucial that the tone of the music
not conflict with the tone of the narration and visuals.
Key. Different keys convey different emotions. A major key, for example, is often
associated with good feelings and normal situations. Minor keys tend to suggest sadness
and moodiness, but can go further to suggest fear, discord and conflict. A change in key
signifies change in mood or situation.
Instruments. Different instruments and groups of instruments have different
connotations. For example:
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Banjo music for a casual and homespun feeling
A brass band to convey energy and exuberance
A Dixieland band to suggest revelry
Orchestral anthems to signify pomp and circumstance
Editing and Mixing. The way the music is put together with the visuals will have a
significant impact on the mood, tone and emotion it conveys. Rapid cuts between music
segments and contrasting changes in tempo, for example, create a feeling of driving
energy and urgency. Slow dissolves and flowing music give a more considered and
leisurely feel. Our daily experience is made up of one sound environment transitioning to
another (going through a door, closing a window.) The audio experience in a business
communication must be smooth to remain believable. It is the mixing of sound that
makes this happen.
Effective mixing:
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Blends several sounds over time
Hides unwanted pops and clicks
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Keeps sound levels in balance
Processes sound to create effects or moods
Balances narration with background sounds and music
Many of the principles of sound editing parallel those of video editing. A few pointers to
keep in mind:
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Abrupt sound cuts can be disruptive and jarring, especially when connecting two
sounds of vastly differing volumes. This technique is often used to draw attention
to an important transition.
Using fading or cross-fading techniques between two tracks minimizes audience
distraction.
Using an overlaid third "ambient" track (background noise) can hide harsh cuts or
imperfect transitions.
Laying down a third track with background audio from a noisier location can also
smooth the transition between audio clips with different background
characteristics.
A final note on music
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Don’t use music as a crutch for lame information
Don’t use music to induce cheap or false emotions
Don’t use music when it contradicts the feeling of the visuals or narration
Use music with caution, but do not resort to blandness
***
Again, let me stress that creative artists such as music composers, filmmakers, painters
and novelists make their life’s work mastering a particular medium. As business
communicators most of us will never have the time, talent or the training to become
highly adept in media production. But understanding the subtle influences of rich media
is critical to the success of any communication event and therefore increasingly important
to our business future.
You do not have to be an artistic genius to create effective media for presentations and
other business communications. Even a modest understanding of graphics, motion and
sound will serve you well. On the other hand, you may have true artistic talent in one area
of media or another. In which case, you are already one step ahead of your rich-mediachallenged competition.
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